كليدواژه :
خيابان , چهار باغ اصفهان , مدرنيته , پرسه زن
چكيده فارسي :
خيابان همواره داراي حيات ذهني و مفهومي بوده است كه آن را به ابژه‌اي خواندني و مملو از نشانه بدل مي‌كند. دراين‌بين صورت پيدا و علني در آن، سوژه پرسه‌زن است كه به مشاهده و ادراك خيابان به‌مثابه صحنه نمايش وجوه مدرن مي‌پردازد. خيابان چهارباغ اصفهان نيز با شواهدي مرتبط با تجربه «مدرنيته» همراه بوده است كه جريان پرسه‌زني در آن را قابل تأمل مي‌سازد. بر اين مدار هدف از پژوهش حاضر چگونگي تجربۀ مدرنيته در خيابان چهارباغ در قالب روايت تاريخي است كه مطابق با آن دو روايت اصلي با تأكيد بر دو محور خيابان و پرسه‌زن توصيف و تبيين مي‌گردد. حاصل آنكه تجربه آشكار چهارباغ از مدرنيته در دوران پهلوي متحقق گشت و مظاهر كالبدي چون تئاتر، سينما، كافه، مغازه و پاساژ و انواع پرسه‌زن عامه، خريدار و آوانگارد نمايان شد؛ پس از انقلاب اسلامي تجربه مدرنيته در قالب فضاهاي تجاري بزرگ و ارزان‌سراها و همچنين نوع جديدي از كافه‌ها و سينما شكل گرفت كه منجر به رشد پرسه‌زن خريدار به‌ويژه در قامت زنان شد و اجازه بروز هويتي جديد و مستقل را به آنان داد. بعلاوه حضور پررنگ پرسه‌زنِ عامه و پديد آمدن پرسه‌زنِ در حال مقاومت را در هيئت جوانان و نوجوانان تا به امروز در پي داشته است.
چكيده لاتين :
The street has always had a mental and conceptual life that makes it a readable object and full of signs. In this regard, the visible and public form in it, is the subject of flaneur who observes and perceives the street as a stage for showing modern
aspects. Isfahan's Chaharbagh Street has also been associated with evidence related to the experience of "modernity"
that makes the flow of the flaneur in it thought-provoking. A street with a cultural and social collection of the firsts that
became a frame of seeing and being seen and was distinguished from other streets. Therefore, the purpose of the present
study is to describe experiencing modernity in Chaharbagh Street in the form of a historical narrative. Accordingly, the
two main narrations are described and explained with emphasis on the two axes of the street and the flaneur. The method
of data collection has been literature review. The necessity to address this issue is highlighted by the following points:
Firstly, the need for a historical view of Chaharbagh Street in the context of a modern object and a point of identity and
heritage which is one of the first roots of modernity in this city, and then the transformation of the modern subject (flaneur)
and the suspension in the first presence, sitting and looking at this street due to the changes of contemporary urbanization.
The results show that the obvious experience of modernity was realized in the Pahlavi era with physical manifestations
such as theater, cinema, cafe, shop, and passage and three types of the public, buyer and avant-garde flaneur. However,
these changes and innovations did not create a pleasant feeling for everyone and the modern appearances of the city and its
street as a traditional city were considered strange patches. After the Islamic Revolution, the experience of modernity was
formed in the format of large and cheap commercial spaces, as well as a new type of cafes and cinemas, which led to the
growth of buyer flaneur, especially women. Modernity led to the expansion of the female public sphere and allowed them
to develop a new and seemingly independent identity, a woman who was often confined to the private sphere and whose
entry into the public sphere without a male companion was considered a disgrace, at least found opportunities to stroll. In
addition, the public flaneur had more opportunities than the avant-garde flaneur and has been present in Chaharbagh as a
spectator to see and being seen to this day. They use this place for hanging out, doing optional activities, making friends,
having fun, and spending time. Also, with the re-emergence of Chaharbagh as a pedestrian street in the last decade, it has
been turned into a cultural pathway, and it led to the formation of the adventurous flaneur in a state of resistance which is
not aligned with its dominant discourse. Young people and adolescents who, on the one hand, seek to be seen beyond their
social reality and, on the other hand, take steps in Chaharbagh to react to the existing order and conquer the public space.
