پديد آورندگان :
الفت فصيح، سميه دانشگاه اصفهان , احمدي داراني، علي اكبر دانشگاه اصفهان - گروه زبان و ادبيات فارسي , مالمير، تيمور دانشگاه اصفهان - گروه زبان و ادبيات فارسي
كليدواژه :
رمانس منظوم , ساختارگرايي , آيين پاگشايي , كمينه روايي , ژرف‌ساخت
چكيده فارسي :
در ميان متون ادب فارسي، ده منظومه به نام‌هاي ويس و رامين، اثر فخرالدين اسعد گرگاني، خسرو و شيرين، هفت‌پيكر، شرف‌نامه و اقبال‌نامه نظامي گنجه‌اي، گل و نوروز و هماي و همايون خواجوي كرماني، جمشيد و خورشيد سلمان ساوجي، بهرام و گل‌اندام از امين‌الدين صافي و هماي‌نامه وجود دارد كه داراي ويژگي‌هاي نوع ادبي رمانس‌اند. اختلاف زماني در روايت رمانس‌هاي منظوم و گستردگي جغرافيايي اين منظومه‌ها، روساخت آنها را متنوع ساخته است. اين تنوع و تفاوت در شيوه روايت رمانس‌ها، چند ساختار را در آنها ايجاد كرده است؛ اما ساختار اصلي آنها مبتني بر آيين آشناسازي يا پاگشايي قهرماني است؛ پاگشايي و آيين‌هاي تشرف، بر مجموعه‌اي از مراسم و مناسك و آموزش‌هاي شفاهي دلالت دارد كه هدفشان ايجاد تغيير و تحولي بنيادين و تعيين‌كننده در وضعيت ديني و اجتماعي آن فردي است كه مشرف يا پاگشا مي‌شود. در اين مقاله، بر اساس الگوي ساختارگرايي لوي استروس، كمينه‌هاي روايي رمانس‌هاي منظوم فارسي را استخراج و ساختار آنها را بررسي كرده‌ايم. يافته‌هاي اين پژوهش نشان مي‌دهد استفاده از ساختار پاگشايي در روايت رمانس‌هاي منظوم فارسي، به دليل اهميت ازدواج برون‌خانواده‌اي در ژرف‌ساخت اين داستان‌هاست كه بر پايه تقابل سفر قهرمان به سرزمين بيگانه و بازگشت او به زادگاه خويش، تقابل خواسته قهرمان و دست‌يابي به خواسته، تقابل نبرد قهرمان و پيروزي او و در نهايت، تقابل سرزمين پدري و سرزمين معشوق شكل گرفته است.
چكيده لاتين :
Among the literary texts of Persian, there are ten poems called Vis and Ramin by Fakhruddin Ass'ad Gurgani; Khosrow and Shirin, Haft paykar, Sharafnameh and Eghbalnameh by Nezami Ganjavi; Gol and Nowrooz, Homay and Homayoun Khwaju Kermani; Jamshid and Khorshid by Salman Savoji; Bahram and Golandam by Amin al-Din Safi and Homayname which has features of the literary type of romance. In this paper, based on the model of Claude Lévi-Strauss structuralism, we extracted the minima of the narrative of Persian verse romances and studied their structure.
In the narrative structure of Persian verse romances, the common minima have always been repeated. The first step for understanding deep-structure the stories is to explain the structure of their narrative. Based on the existence of dual oppositions in the structure of these romances, the main elements of the structure of stories can be extracted. These elements are Mytheme that stories structure based on them. From the stroke of the stories mentioned above, six narrative minima can be extracted: 1) The hero sees science and martial arts. 2) The hero, loves a beautiful girl. 3) The hero travels to gain the demands. 4) The hero for gaining demands, tests or quests. 5) The hero receives a reward. 6) The hero returns to his homeland. As Strauss extracted the Mythemes on a sentence scale, these elements are also in the form of a sentence, which can generally be summarized in single words; the elements of "education, love, travel, test, reward, return."
According to the aforementioned minerals, the main structure of the Persian verse romances is based on the initiation or the achievement of the championship. Initiation and traditions of encouragement and passing on a series of ceremonies and rituals and oral education, the purpose of which is to create a fundamental and decisive transformation in the religious and social status of a person who is mysterious, overlooked or strangled. In Persian verse romances, the hero with a motive that is generally sought after by a beloved goes away from home and takes a long journey with all kinds of hardships; Tests are difficult to survive and eventually return home with victory over enemies and obtaining desires. These propositions are the structural elements that illuminate the original structure of the romances based on the pattern of pagan rituals. In this template, the hero goes away from the community, while at the same time differs from his previous state of affairs, in order to achieve perfection and change his religious and social status. The findings of this research show that the use of an initiation structure in the narration of Persian verse romances is due to the importance of extra-family marriages in deep-structure these stories.
