ﻇﺮﻓﯿﺖ ﻫﺎي رواﯾﯽ و ﺗﻤﺮﮐﺰزداﯾﺎﻧﻪ ي ﺑﺎب ﻫﻔﺘﻢ ﮐﻠﯿﻠﻪ ودﻣﻨﻪ ﺑﺮاي ﺑﺎزﻧﻮﯾﺴﯽ

Narrative and Decentarative Capacities of 7th part of Kalila va Dimna for Rewriting and Recreation

ﮐﻠﯿﻠﻪ ودﻣﻨﻪ ﯾﮑﯽ از ﯾﺎدﮔﺎرﻫﺎي ﻣﺎﻧﺪﮔﺎر ﮔﺬﺷﺘﻪ اﺳﺖ ﮐﻪ وﯾﮋﮔﯽ ﻫﺎي ارزﺷﻤﻨﺪ دارد و ﭘﮋوﻫﺶ ﻫﺎي ﮔﻮﻧﺎﮔﻮن را ﺑﻪ ﺧﻮد اﺧﺘﺼﺎص داده اﺳﺖ. از اﻣﺘﯿﺎزﻫﺎي ارزﻧﺪه ي ﮐﻠﯿﻠﻪ ودﻣﻨﻪ ﻣﯽ ﺗﻮان ﺑﻪ ﻇﺮﻓﯿﺖ ﻫﺎي رواﯾﯽ و ﺗﻤﺮﮐﺰزداﯾﺎﻧﻪ ي اﯾﻦ ﻣﺘﻦ ﺑﺮاي ﺑﺎزﻧﻮﯾﺴﯽ اﺷﺎره ﮐﺮد. در اﯾﻦ ﻣﻘﺎﻟﻪ ﮐﻪ ﺑﺮآﻣﺪه از ﭘﮋوﻫﺸﯽ ﮔﺴﺘﺮده اﺳﺖ، ﻇﺮﻓﯿﺖ ﻫﺎي رواﯾﯽ و ﺗﻤﺮﮐﺰزداﯾﺎﻧﻪ ي ﺑﺎب ﻫﻔﺘﻢ ﮐﻠﯿﻠﻪ ودﻣﻨﻪ ﺑﺮ ﭘﺎﯾﻪ ي اﻟﮕﻮي ﻣﺎرﯾﺎ ﻧﯿﮑﻮﻻﯾﻮا در رواﯾﺖ ﻣﻨﺪي و ﺷﮕﺮدﻫﺎﯾﯽ ﮐﻪ ﺧﺴﺮوﻧﮋاد و ﻣﺮادﭘﻮر ﺑﺮاي ﺗﻤﺮﮐﺰزداﯾﯽ ﯾﺎﻓﺘﻪ اﻧﺪ، ﺑﺎزﺷﻨﺎﺳﯽ و ﺑﺮرﺳﯽ ﻣﯽ ﺷﻮد. ﯾﺎﻓﺘﻪ ﻫﺎي ﭘﮋوﻫﺶ ﻧﺸﺎن ﻣﯽ دﻫﺪ ﺑﺎب ﻫﻔﺘﻢ ﮐﻠﯿﻠﻪ ودﻣﻨﻪ درﺻﻮرﺗﯽ ﮐﻪ ﺑﺎ ﺗﻮﺟﻪ و ﺗﮑﯿﻪ ﺑﻪ ﻇﺮﻓﯿﺖ ﻫﺎي رواﯾﯽ و ﺗﻤﺮﮐﺰزداﯾﺎﻧﻪ و ﺗﻘﻮﯾﺖ آن ﻫﺎ ﺑﺎزﻧﻮﯾﺴﯽ ﺷﻮد، داﺳﺘﺎﻧﯽ ﺟﺬاب و ﺧﻮاﻧﺪﻧﯽ ﺑﺮاي ﮐﻮدﮐﺎن ﺧﻮاﻫﺪ ﺑﻮد، ﺑﻪ وﯾﮋه اﮔﺮ ﺑﺎ اﻧﺘﺨﺎب زﺑﺎﻧﯽ ﺳﺎده، اﻣﺎ ﭘﻮﯾﺎ و روان ﺑﺎزﻧﻮﯾﺴﯽ ﺷﻮد ﮐﻪ در آن ﺷﺨﺼﯿﺖ ﻫﺎ ﻫﺮﯾﮏ ﺑﺎ ﻟﺤﻨﯽ وﯾﮋه و ﻣﻨﺎﺳﺐ ﺧﻮد ﺳﺨﻦ ﺑﮕﻮﯾﻨﺪ. وﯾﮋﮔﯽ ﻫﺎي رواﯾﯽ ﺷﺎﯾﺴﺘﻪ ي ﺗﻮﺟﻪ در ﺑﺎزﻧﻮﯾﺴﯽ اﯾﻦ ﻣﺘﻦ را ﻣﯽ ﺗﻮان ﭼﻨﯿﻦ ﺑﺮﺷﻤﺮد: ﭘﯿﺮﻧﮓ ﺳﺎده و ﻓﺰاﯾﻨﺪه؛ ﮔﺮه اﻓﮑﻨﯽ و ﺗﻌﻠﯿﻖ؛ ﺷﺨﺼﯿﺖ ﭘﺮدازي ﺗﻮﺟﻪ ﺑﺮاﻧﮕﯿﺰ؛ ﮔﻔﺖ وﮔﻮﻫﺎﯾﯽ ﮐﻪ ﺿﻤﻦ اﯾﺠﺎد ﺗﻌﻠﯿﻖ و ﮐﺸﺶ، آﻣﻮزه ﻫﺎﯾﯽ ارزﺷﻤﻨﺪ را ﻏﯿﺮﻣﺴﺘﻘﯿﻢ ﺑﻪ ﮐﻮدك اﻧﺘﻘﺎل ﻣﯽ دﻫﻨﺪ و... .ﻫﻤﭽﻨﯿﻦ وﺟﻮد ﻧُﻪ ﺷﮕﺮد ﺗﻤﺮﮐﺰزداﯾﻨﺪه، ﺷﺎﯾﺴﺘﮕﯽ اﯾﻦ داﺳﺘﺎن را ﺑﺮاي ﺑﺎزﻧﻮﯾﺴﯽ ﺑﯿﺸﺘﺮ ﻧﻤﺎﯾﺎن ﻣﯽ ﮐﻨﺪ: ﭘﺎﯾﺎن ﺧﻮش؛ آﮔﺎﻫﯽ ﺧﻮاﻧﻨﺪه از ﭘﺎﯾﺎن در آﻏﺎز رواﯾﺖ؛ اﻏﺮاق در ﺗﻤﺮﮐﺰﮔﺮاﯾﯽ ﺷﺨﺼﯿﺖ ﻫﺎ؛ ﻣﺪاﺧﻠﻪ و ﺗﻐﯿﯿﺮ ﭼﻨﺪﺑﺎره ي راوي؛ ﺧﻮدﻧﻤﺎﯾﯽ ﯾﺎ ﺧﻮدﻓﺎش ﺳﺎزي داﺳﺘﺎن؛ ﺳﭙﯿﺪﻧﻮﯾﺴﯽ؛ ﻏﺎﻓﻠﮕﯿﺮي ﻣﺨﺎﻃﺐ ﺑﺎ ﭼﺎره اﻧﺪﯾﺸﯽ ﺷﺨﺼﯿﺖ ﻫﺎ؛ ﻣﻨﺎﻇﺮه ﮐﻪ ﻫﻢ ﺑﺎزﺗﺎب ﺗﻤﺮﮐﺰزداﯾﯽ ﺷﺨﺼﯿﺖ ﻫﺎ و ﻫﻢ ﻣﻮﺟﺐ ﺗﻤﺮﮐﺰزداﯾﯽ ﺧﻮاﻧﻨﺪه اﺳﺖ؛ ﺳﺎﺧﺘﺎر ﻗﺼﻪ درﻗﺼﻪ و ﺟﺎﺑﻪ ﺟﺎﯾﯽ ﻗﻬﺮﻣﺎن.

Kalila va Dimna is one of the valuable texts of the past. An important merit of Kalila va Dimna is its narrative and decentarative capacities. The purpose of this paper is to study the capacities of 7th part of Kalila va Dimna a for rewriting and recreation according to Maria Nikolajeva and the pattern proposed by Khosronejad. The findings of this study show this part of Kalila va Dimna does have the appropriate narrative structure for children such as simple plot, attractive characterization and dialog suitable to be rewritten in a simple language in which every character is speaking in his special tone. There are nine techniques of decentration in this story: happy end, exaggeration, narrator’s intervention and change, exhibitionism, white-writing, surprise, debate, tale in tale, and displacement of the protagonist.