كليدواژه :
پديدارشناسي , مكان , نامكان , اكبر رادي , شب روي سنگفرش خيس , پلكان
چكيده فارسي :
رويكرد پديدارشناسي به دليل پذيرفتن انسجام، يكپارچگي و تقسيم ناپذيري تجربه انسان و همچنين پذيرفتن اين حقيقت كه معاني تعريف شده توسط خواسته هاي انسان در مركز تجارب ما قرار دارند. و آن چه اهميت پيدا مي كند، پديده مكان است. مكان، هويت مند، رابطه مند و داراي تاريخ است. بر اين اساس،نامكان محدوده اي است تهي از هويت و تاريخ و تحقق آن درون فضاهايي همسان شكل مي گيرد.
اين پژوهش،كيفي، توصيفي، تحليلي؛ با استفاده از تكنيك كتابخانه اي گرداوري شده است. اهميت اين پژوهش بر اين است كه رادي در نمايشنامه هاي خود به مفهوم مكان، اشاره دارد. او به يك باره داشتن احساس تعلق به آن را مي آزمايد، و شخصيت هاي آثارش را در رويارويي با آن ها قرار مي دهد. هدف اين پژوهش تفكيك و يافتن فضا ها و مكان ها و نامكان هاي موجود در نمايشنامه هاي "شب روي سنگفرش خيس" ، "پلكان" ؛ و تفكيك آن ها و نتيجه گيري در تاثير مكان و نامكان بر فرد و نحوه واكنش فرد به آن ها و يافتن روح مكان و پي بردن داشتن حس تعلق به مكان در شخصيت هاي «آن ها» مي باشد،. پژوهشي كه در اين زمينه پيشگام است.
چكيده لاتين :
Unlike static philosophies, Phenomenology is a dynamic and vivid philosophy; meanwhile, similar to any other movement, it consists of several parallel sub-movements that are interrelated, but by no means, homogeneous which may run at different paces. To be more accurate, the overall shape of phenomenological movement is not like a river, but is similar to a flourishing tree with its branches spread out all around. Phenomenological approach adopts cohesion, integrity and indivisibility of human experience as well as the fact that the defined meanings by human needs are at the heart of our experiences. Accordingly, what is become important in this regard is the phenomenon of place. Place possesses identity, relation and history. When different places come together to influence each other, then "Space" is born. Accordingly, non-place is an area devoid of identity and history, which takes place within homogenous spaces. In the past. What has emerged in the contemporary world is non-places and empty spaces. The spaces that are for passage, not pause; for passing-by, not presence; for separation, not intimacy and familiarity and have led to distress and loneliness of human being. Non-place has emerged due to such a distress and loneliness of human. Non-place is the opposite of home. User of non-place is lonely, and the people living alone in it have a similar association with it, and no organic community is possible. The techniques used in this article, qualitative, descriptive, analytical and data collection methods were used libraries. In this study, in addition to explaining the phenomenological perspectives concerning place and non-place, Akbar Radi’s viewpoint towards them are also taken into consideration. Among the contemporary playwrights of Iran, Akbar Radi’s views are much close to the phenomenology of place. The importance of this study is due to the fact that Radi repeatedly refers to the concept of place in his plays. A deep, exquisite, and new view towards place can be found across the works of Radi. He not only examines the sense of belonging to place, but also make his characters to encounter with it. Radi knows the spirit of the place, he is aware of sense of place due to walking in fog and a wet pavement. He is aware of the wind whisper and the sense of being in the forest and fog. Furthermore, he has been much successful in conveying the sense of place in his works, up to the point that his work are full of the meaning of place, and such places become easily believable to us. The purpose of this study is to find spaces, places as well as non-places in two plays of Radi, i.e. "Night on the Wet Pavement" and "Stairs"; to classify them; to understand the impact of place and non-place on the individual and the individual's reactions to them; to find the spirit of the place as well as to reveal the existence of a sense of belonging to place in Radi's characters. This is a pioneer research in this field of study.
