ﻓﺮآﯾﻨﺪ ﻓﺮارواﯾﺖ در رﻣﺎن ﻋﯿﻦ اﻟﻔﺮس از ﻣﯿﻠﻮدي ﺷﻐﻤﻮم

The Process of Meta-Narration in the Novel Ein Al-Fars, by the Melody Shaghmum

در ﻫﻢ ﺷﮑﺴﺘﻦ ﻣﺮز ﻣﯿﺎن ﺟﻬﺎن واﻗﻌﯿﺖ ﺑﺎ ﺧﯿﺎل، ﺷﮑﺴﺘﻦ ﻣﺮز ﻣﯿﺎن ﻧﻮﯾﺴﻨﺪه و ﺧﻮاﻧﻨﺪه و در ﻣﺠﻤﻮع ﺷﮑﺴﺖ و ﮔﺴﺴﺖ رواﯾﯽ ﮐﻪ ادﺑﯿﺎت ﭘﺴﺖ ﻣﺪرن ﺑﻪ ارﻣﻐﺎن آورد، ﺳﺒﺐ ﺷﮑﻞﮔﯿﺮي ﺷﮑﻞ ﺧﺎﺻﯽ از رواﯾﺖﭘﺮدازي در رﻣﺎن ﭘﺴﺎﻣﺪرن ﺷﺪ ﮐﻪ ﺑﻪ آن ﻓﺮارواﯾﺖ ﻣﯽﮔﻮﯾﻨﺪ. ﻧﻮﯾﺴﻨﺪه در اﯾﻦ ﺷﯿﻮه از روشﻫﺎي راﯾﺞ و ﻣﺮﺳﻮم در رﻣﺎن ﮐﻼﺳﯿﮏ ﻓﺎﺻﻠﻪ ﻣﯽﮔﯿﺮﯾﺪ و اﺛﺮي ﻧﻮآوراﻧﻪ و ﻫﻨﺠﺎرﺷﮑﻨﺎﻧﻪ ﭘﺪﯾﺪ ﻣﯽآورد ﮐﻪ ﺑﺎ ﺗﻌﺎرﯾﻒ ﺷﻨﺎﺧﺘﻪ ﺷﺪه رﻣﺎن در ﺗﻀﺎد اﺳﺖ. در اﯾﻦ ﻧﻮع ﮔﺮاﯾﺶ از رﻣﺎن ﻧﻮﯾﺴﯽ ﻧﺤﻮه ﺗﻌﺎﻣﻞ ﻧﻮﯾﺴﻨﺪه ﺑﺎ راوي، ﺷﺨﺼﯿﺖ، ﻣﺘﻦ داﺳﺘﺎﻧﯽ و ﺟﻨﺒﻪ زﺑﺎﻧﯽ ﮐﺎﻣﻼً ﻣﺘﻔﺎوت اﺳﺖ و ﻫﻤﻪ ﻋﻨﺎﺻﺮ رﻣﺎن ﺷﺮاﯾﻂ و ﺗﺤﻮﻻت ﻋﻤﯿﻖ اﺟﺘﻤﺎﻋﯽ را ﺗﺪاﻋﯽ ﻣﯽﮐﻨﺪ. آﻧﭽﻪ در اﯾﻦ ﻣﯿﺎن ﺟﻠﺐ ﺗﻮﺟﻪ ﻣﯽﮐﻨﺪ روي آوردن رﻣﺎنﻧﻮﯾﺴﺎن ﻋﺮﺑﯽ ﺑﻪ اﯾﻦ ﺷﻮﯾﻪ در ﺳﺎلﻫﺎي اوﻟﯿﻪ ﭘﯿﺪاﯾﺶ و رواج اﯾﻦ ﺷﯿﻮه در رﻣﺎن اروﭘﺎﯾﯽ اﺳﺖ. ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺳﺮﻋﺖ ﻣﺪرﻧﯿﺘﻪ در دﻫﻪﻫﺎي ﭘﺎﯾﺎﻧﯽ ﻗﺮن ﺑﯿﺴﺘﻢ در ﮐﺸﻮرﻫﺎي ﻋﺮﺑﯽ و ﻫﻤﭽﻨﯿﻦ ﻫﻤﺨﻮاﻧﯽ اﯾﻦ ﺷﯿﻮه داﺳﺘﺎﻧﯽ ﺑﺎ ادﺑﯿﺎت ﮐﻼﺳﯿﮏ ﻋﺮﺑﯽ ﮐﻪ در آن راﺑﻄﻪاي زﻧﺪه ﻣﯿﺎن راوي و رواﯾﺖﺷﻨﻮ ﺑﺮﻗﺮار اﺳﺖ و ﻣﻌﻤﻮﻻً راوي ﺗﻤﺎﯾﻞ ﺑﻪ ﭘﻨﻬﺎنﮐﺎري در داﺳﺘﺎن ﻧﺪارد، اﯾﻦ ﺷﯿﻮه ﻣﻮرد ﺗﻮﺟﻪ ﮔﺮﻓﺖ. ﺑﺎ ﺑﺮرﺳﯽ ﺑﯿﺸﺘﺮ ﺗﺎرﯾﺦ ﺗﻄﻮر رﻣﺎنﻧﻮﯾﺴﯽ ﻋﺮﺑﯽ در دﻫﻪﻫﺎي ﭘﺎﯾﺎﻧﯽ ﻗﺮن ﺑﯿﺴﺘﻢ ﺷﺎﻫﺪ اﺳﺘﻔﺎده اﯾﻦ ﺷﯿﻮه از ﺟﺎﻧﺐ ﻧﻮﯾﺴﻨﺪﮔﺎن ﮔﻤﻨﺎﻣﯽ ﻫﺴﺘﯿﻢ ﮐﻪ ﺟﺎﯾﮕﺎه ادﺑﯽ آﻧﻬﺎ در ﭘﮋوﻫﺶﻫﺎي داﻧﺸﮕﺎﻫﯽ و رواﯾﺖﺷﻨﺎﺳﯽ ﻣﻐﻔﻮل ﻣﺎﻧﺪه اﺳﺖ ﮐﻪ از ﺟﻤﻠﻪ آﻧﻬﺎ ﻣﯿﻠﻮدي ﺷﻐﻤﻮم ﻧﻮﯾﺴﻨﺪه اﻫﻞ ﻣﻐﺮب در رﻣﺎن ﻋﯿﻦ اﻟﻔﺮس از اﯾﻦ ﺷﯿﻮه ﺑﻪ ﮔﻮﻧﻪ ﻧﻮآوراﻧﻪ و ﻧﻈﺎمﻣﻨﺪ اﺳﺖ. در اﯾﻦ ﻣﻘﺎﻟﻪ، ﺑﺎ اﺳﺘﻔﺎده از ﻣﻬﻢ ﺗﺮﯾﻦ ﻣﻨﺎﺑﻊ ﻧﻈﺮي در ﺧﺼﻮص ﺷﯿﻮۀ ﻓﺮارواﯾﺖ، ﺗﻼش ﻣﯽﺷﻮد ﺑﻪ ﺑﺮرﺳﯽ ﻣﻬﻢ ﺗﺮﯾﻦ ﻣﺆﻟﻔﻪﻫﺎي ﻓﺮارواﯾﺖ و ﭼﮕﻮﻧﮕﯽ ﮐﺎرﺑﺮد آن در اﯾﻦ رﻣﺎن ﭘﺮداﺧﺘﻪ ﺷﻮد. ﻧﺘﯿﺠﻪ ﻧﺸﺎن ﻣﯽدﻫﺪ ﮐﻪ ﺷﻐﻤﻮم در اﯾﻦ رﻣﺎن ﮐﻮﺗﺎه، ﺑﺎ اﯾﺠﺎد ﺳﺎزوﮐﺎرﻫﺎﯾﯽ ﭼﻮن ورود ﻧﻮﯾﺴﻨﺪه ﯾﺎ راوي در اﺛﺮ، ارﺗﺒﺎط ﺑﺎ رواﯾﺖ ﺷﻨﻮ و ﺑﺮوز آﻣﯿﺨﺘﮕﯽ واﻗﻌﯿﺖ و ﺧﯿﺎل ﯾﺎ داﺳﺘﺎنوارﮔﯽ و ﻫﻤﭽﻨﯿﻦ اﺳﺘﻔﺎده از ﺻﻨﺎﻋﺎت داﺳﺘﺎنﻧﻮﯾﺴﯽ، ﺑﻪ ﺧﻠﻖ ﻓﺮآﯾﻨﺪ ﻓﺮارواﯾﺖ اﻫﺘﻤﺎم ورزﯾﺪه اﺳﺖ.

The breaking of the fantasy world with reality, the breaking of the boundary between writer and reader, and in general the breakdown of narrative brought about by postmodern literature, led to the formation of a special form of narrative in the postmodern novel called metanarrative. In this way, the author distances himself from the usual methods in the classic novel and creates an innovative and norm-breaking work that contradicts the well-known definitions of the novel. In this type of novel writing, the author's interaction with the narrator, character, narrative text and linguistic aspect is completely different, and all elements of the novel evoke deep social conditions and developments. What attracts attention in the meantime is the turn of Arab novelists to this method in the early years of the emergence and spread of this method in European novels. Considering the speed of modernity in the last decades of the twentieth century in Arab countries and also the compatibility of this narrative style with classical Arabic literature in which there is a living relationship between the narrator and the narrator and usually the narrator tends to hide in the story. No, this method was taken into consideration. A closer look at the history of the evolution of Arabic novelism in the last decades of the twentieth century shows the use of this method by anonymous writers whose literary position in academic and narrative research has been neglected, including the melodic melody of the Maghreb writer. In Ain al-Fars novel, this method is innovative and systematic. In this article, using the most important theoretical sources on the method of metanarrative, an attempt is made to examine the most important components of metanarrative and how it is used in this novel. The result shows that Shagham in this short novel, by creating mechanisms such as the entry of the author or narrator in the work, communication with the narrator and the fusion of reality and fantasy or storytelling, as well as the use of storytelling industries, try to create a metanarrative process. Is trained.