نقد جامعه‌شناختي نمايشنامۀ افول نوشتۀ اكبر رادي

Sociological Study of Akbar Raadi's Play Ofool (Decline

اين مقاله در صدد آنست كه »نمايشنامۀ افول « اثر اكبر رادي را بر مبناي نقد جامعه شناختي بررسي كند. پرسشهايي كه با آن مواجه ايم اين است كه نخست، ساختار زيبايي شناختي نمايشنامۀ افول به عنوان يك اثر واقعگرا تا چه ميزان با ساختار جامعۀ دهۀ چهل رابطۀ متقابل برقرار كرده است و دوم اينكه نويسنده به عنوان فردي از طبقۀ روشنفكر چگونه ايدئولوژي و آگاهي ممكن اين طبقه را در اثر خود بازتاب داده است؟ نگارنده با روش تحليلي توصيفي به اين نتيجه رسيده است كه كليت ساختار نمايشنامۀ افول با نشان دادن طبقات مختلف جامعه و شكاف موجود ميان آنها به عدم كاميابي جنبشهاي اجتماعي در دهۀ چهل و آسيب شناسي آن دلالت دارد و نويسنده اگرچه ايدئولوژي و آگاهي ممكن طبقۀ روشنفكر را در اثر خود منعكس مي كند، اما با دوري از تحميل ايدئولوژي خود به جهان اثر، به سبك رئاليسم پايبند و وفادار مي ماند.

Sociological criticism in the literature analyzes the structures of a society through literary works. Embracing subjects concerning history and sociology links, types, social classes, ideologies, meaningful frameworks, and reflection theory in examining the artworks, Lucian Goldman, as a theoretician, proposed the genetic structuralism by organizing George Lucas ideas. Based on this method, the present study aimed to sociologically criticize the drama play by Akbar Radi, under the name of Ofool (The Descent).To do so, two major questions were designed to investigate the extent to which aesthetic structure of Ofool as a realistic work has a mutual relationship with the structure of the society in its era (1960s). It also explored the realization of the playwright's ideology, as a member of the intellectuals' social class, and the likely awareness of this social class in his literary work. Using descriptive as well as analytical approach, the study concluded that the overall framework of Ofool justified the why of social movements' failure in the 1960s and the pathology of that era via the representation of different social classes and the gaps among them. The author tried not to impose his ideology on the work and kept his play loyal to the realistic style although he reflected the values and consciousness of the intellectuals' social class in his literary work.