كليدواژه :
تاريخ گرايي نو , گفتمان , فُرسي , آرامسايشگاه
چكيده فارسي :
نوتاريخ گرايي گرايشي است در مطالعات ادبي و فرهنگي كه توجه ويژه اي به موقعيت تاريخي متن به عنوان جزء جدايي ناپذير متن دارد. از اين ديدگاه متن به صحنه ي نبرد ميان انديشه هاي متخاصم نويسنده، جامعه، رسوم، نهادها و اعمال اجتماعي بدل مي شود كه همگي در نهايت مورد توافق نويسنده و خواننده و تحت تاثير شناختمان آن ها قرار مي گيرد. تاريخ گرايي نو به متن ادبي به عنوان بستري براي تعامل گفتمان هاي گوناگون و نمايان سازي روابط قدرت مي پردازد. انديشمندان بسياري در اين رويكرد سهم داشته اند، از جمله فوكو كه تأكيد مي كند تاريخ رابطه ي پيچيده ي انواع گفتمان هاست. گفتمان با قدرت پيوند خورده است و از طريق زبان اعمال مي شود. اين رويكرد سعي در به تصوير كشيدن تعامل گفتمان هاي گوناگون يك متن ادبي و چگونگي تاثير گذاري و تاثيرپذيري متقابل گفتمان ها و متن بر يكديگر دارد. فرسي در نمايشنامه ي آرامسايشگاه ايدئولوژي خود را در غالب گفتمان هاي اجتماعي نمايان مي كند. مضمون نمايشنامه از بطن جامعه ي مولف، هم از جنبه ي فرهنگي و هم از جنبه ي اجتماعي، سر برآورده است. در پژوهش حاضر تلاش شده است به نمايشنامه ي آرامسايشگاه به عنوان فضايي براي تعامل گفتمان هاي گوناگون نگريسته شود و به ريشه يابي قواعد و احكام اجتماعي موجود در متن، گفتمان غالب متن، بايدها و نبايدهاي اجتماعي دوره ي تاريخي مورد نظر نويسنده و بازتاب اوضاع تاريخي متن پرداخته شود.
چكيده لاتين :
New Historicism is a new approach in literary and cultural studies that mainly focuses on the historical
background of a text as an inseparable part of it. New Historicists assume that language can form its culture
and is organized by it. The concept of language in new historicism is more than word-of-mouth. According
to their ideas, language includes discourse, writing, literature, social reaction and any type of social relations.
These relations provide a person or a group with the possibility to impose his view or disposition upon
the others. Therefore, the text becomes a battlefield where the conflicting thoughts of the author, society,
customs, institutions and social acts interact and finally the author and the reader come to an agreement by
their perception of them. New historicists believe that there is no difference between a literary text and a nonliterary
one, because any text contains some discourses which have a pivotal role in making a culture. From
this perspective, the author’s situation, whether cultural or social, creates a work of art; thus, awareness of
dominant ideology and discourse can help create a scope for advancing. New historicists consider literature
as a place where there is a conflict between non-dominant sub-discourses and dominate discourse. This
approach views literary text as a place for the interaction between different discourses (and) demonstration
of power relations. Many thinkers have contributed to this approach and Foucault was one of them. In his
opinion history was a complicated relationship between different kinds of discourse. Discourse and power
are inseparable and power is exerted through language. This approach attempts to portray the interaction
between different discourses in a literary text and to show how discourses and texts are influenced by each
other. Bahman Forsi has indicated his ideology by social discourses in his play Aramsayeshgah. The theme
of the play is rooted in the society where the playwright lived. It shows cultural and social aspects of that ere.
Power is presented throughout the whole society. On the surface, the theme of the play seems an ordinary one.
According to New historicism social, political and cultural aspects of time are included in the texts created in
that time. Therefore, the text or work of art is regarded as a social product. For example, characters in Forsi’s
play are wasted intellectuals who cope with their frustration and disillusionment. This paper attempts to show
that Aramsayeshgah is a place where different discourses interact. It also tries to find the source of social rules
and regulations, the dominant discourse in the text, and show that they are a reflection of social situations and
norms in the historical time the author tried to depict.
