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پایانِ داستان‌ها «پیوستار سکون در رمان فارسی دهة چهل» | ||
| جامعه شناسی هنر و ادبیات | ||
| مقاله 6، دوره 14، شماره 2، اسفند 1402، صفحه 99-120 اصل مقاله (688.49 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jsal.2023.92669 | ||
| نویسنده | ||
| محمد نادرکردی* | ||
| دانشجوی دکتری جامعه شناسی دانشگاه تهران | ||
| چکیده | ||
| ژانر رمان در پیوند با زمان معاصر همواره خلق کننده جهانی نو و رو به آینده است که مفهوم حرکت و نامتنهای بودن را توأمان در درون خود نهفته دارد. در چنین چشماندازی نمیتوان رمان را صرفاً به بازتابی از شرایط خاص اجتماعی- تاریخی دورانی مشخص، یا به خدمت ایده و رسالتی خاص تقلیل داد. ژانر رمان و جهان داستانیاش مخلوق رابطهای پیچیده و درهمتنیده از عناصر گوناگون متباین از جمله: جهان واقعی به مثابه منبع بازنمایی، جهان بازنمودة اثر ادبی، مؤلف و مخاطب در زمانها و مکانهای متفاوت است که میتوان از آنها به مثابة پیوستار رمان نام برد. بر اساس این نگاه، رمان و به صورت خاص پایانبندی آن به مثابه آستانه یا مرزی در رابطه با دیگر عناصر پیوستارِ رمان ترسیم شده است که با توجه به چگونگی بسته شدن آن یعنی: سخن فرجامین داستان یا گفتار راوی و قهرمانان داستان دربارة خویش و جهانشان، گرایش آن داستان را در نسبت با حرکت یا سکون و ایستاییاش به صورت خاص، و ژانر رمان به صورت کلی مد نظر قرار گرفته است. این نگاه با تکیه بر مفاهیم ژانر رمان، حماسه، آستانه، پیوستار زمانی-مکانی«کرونوتوپ» از نگاه باختین صورتبندی شده است. بر این اساس در پایان رمان شوهر آهو خانم، حرکت سیدمیران که از خیابان شروع و به گاراژ رسیده بود در بازگشتی ایستا به خانه منتهی میشود؛ در سووشون یوسف به مثابة دیگری زری کشته و حذف میشود؛ و حرکت خالد در رمان همسایهها از خانهای محصور آغاز میشود، در خیابان تداوم مییابد و به زندان ختم میشود. | ||
| کلیدواژه‌ها | ||
| آستانه؛ پایانبندی؛ پیوستار؛ رمان؛ کرونوتوپ | ||
| عنوان مقاله [English] | ||
| The end of stories " Continuous of stillness in the Persian novel of the 1340s" | ||
| نویسندگان [English] | ||
| Mohammad Naderkurdi | ||
| Sociology doctoral student univesity of tehran | ||
| چکیده [English] | ||
| This essay is Reflecting on the novel genre in general and the Persian novel of the 1340s in particular, this essay intends to evaluate the relationship between the two according to the internal logic of the novel genre from Bakhtin's point of view. Therefore, at the beginning, by reflecting on the problem of the novel and its possibilities, we go through a path that shows concepts such as: "epic-novel", "continuity", "chromotrope" and "ending" in the utterance novel, which shows an independent world for the novel. A new and forward-looking world that contains the concept of movement and infinity. The genre of the novel and its storied world is a creation of a complex and intertwined relationship of various different elements, such as: the real world as a source of representation, the world of representation of the literary work, the author and the audience in different times and places that They can be called as the continuation of the novel. This issue in the novel shows that language and different consciousness in a novel is not a neutral issue; Rather, there is a continuity that imagines everything in a real, integrated and unfinished historical world, which is distinguished from the world represented in the text by a definite and definite distance. Such a pattern is always related to historical time; In this sense, every voice or consciousness responds to the statements before it and semantic patterns and awareness before it and always waits for an answer. The expectation that takes the form of Bakhtin's language: the novel has a kind of indeterminacy and unfulfilledness within it, which creates an endless present by creating a dynamic relationship with the unfinished and still evolving contemporary reality. The study of this research is based on some specific Persian novels in the 1340s, such as: " Showhar-e Ahou Khanom" by Afghani, " Savushun" by Simin Daneshvar, and " Hamsayeh-ha" by Ahmad Mahmoud; The different semantic aspects of these novels become important for us in various socio-historical contexts. In this way, the meaning of a text finds different directions from one context to another, from one social condition to another, and from one generation to another. These different directions find meaning for us in the ending and how these novels end. Therefore, according to the aspects of the form that we formulated at the end of these novels, we realize that the concept of movement as one of the most important characteristics of the genre of the novel, which is combined with the concepts of infinity and indeterminacy and the ending is in an endless now, at the end of these novels it turns into stillness. This issue is related to the real social-historical context which is considered as the source of storied representation of these novels, to the social context in which the mentioned novels narrate the narrative of this representation and after that they are read in different times it is a reminder of the repetition of specific historical patterns in different clothes in a given and determined circle, which do not indicate extrication, salvation and metamorphosis, nor do they have the ability to draw a new and future world. In this way, if we consider the story of Seyed Miran, Zari and Khaled as an allegory of a social-historical period, the world represented by the These novels in the 1340s shows the ending of movement, return and stillness that is shown at the end of the novel. ending and a return that perpetuates the ending of consciousness and a certain voice in the unfinished contemporary history. The continuity of this novel from the real world as the source of its representation to what it represents in the 1340s, and the re-creation and reconstruction that is always done by its audience in the unfinished contemporary history, ending the movement, returning and standing at a point; It will be safe and complete. | ||
| کلیدواژه‌ها [English] | ||
| threshold, Novel continuous, Chronotope, ending | ||
| مراجع | ||
Aristotle. (2017), Poetics, translated By Abdolhossein Zarrinkoob. Tehran Amir Kabir Publishers. (In Persian).
Ali Mohammad Afghani. (1961), Showhar-e Ahou Khanom. Tehran Amir Kabir Publishers. (In Persian).
Amiri Nader. (2021), Collective Memory and Narrative Emphasising on History-oriented novel and A glance at
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Todorov, Tzvetan (2014), Mikhail Bakhtin: The Dialogical Principle, translated By Dariush Karimi. Tehran Markaz | ||
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