پديد آورندگان :
غياثي، محمدتقي نويسنده , , نادري مقام، شقايق نويسنده ,
كليدواژه :
جنگ , تعهد , ميهن گرايي , ملت گرايي , الزا , عشق , فرانسه , زن ورانگي
چكيده فارسي :
لويي آراگون، در اين جستار به عنوان يك شاعر و نويسنده معاصر مطرح مي شود؛ شاعري كه در طول جنگ جهاني دوم ميان زن ورانگي و تعهدمندي به ميهن، شكافي نمي بيند. در اثر او، زن پاس داشته مي شود، به رغم آناني كه زن را گرانباري بر گرد مرد جنگاور مي شمرند. در واقع بخشي از آثار او در هيمن پيشگاه زنانه الزا است؛ تا بدان جا كه تعهدمندي و ميهن پرستي او به چالش كشيده مي شود. اما اين چشم انداز نمي تواند خواننده آشنا با افشر تاريخي و اجتماعي اين اشعار را گمراه كند؛ با ره گيري تصوير زنان در اشعار آراگون، چه در سطح و چه در عمق مضامين، نرم نرمك تصاوير ديگري رخ مي نمايند:
از الزا تا فرانسه، خطي ممتد كشيده شده است. فرانسه در پي آيند نگار عاشقانه الزا و تصاوير زنان پر آوازه است. فرانسه يا الزا، دو واژه با صفاتي يكسان: نياز، زنانگي، شاعرانگي، ارزش هايي كه ايديولوژي مردانه نازي را مي لهند.
پس عشق نيز در اين جا طرحي دوگانه به خود مي گيرد، عشقي انساني و در عين حال عشق به ميهن.
اين است منش شعرگوي متعهدي كه با آفرينش لفافه گويي ها در اوان جنگ، نقشي ارزنده در زايش شعر مقاومت داشت. او فرانسه را نهاني مي پرستد، فرانسه اي كه در طول جنگ و به دليل حضور غير فرانسويان اندوهناك است. پس با نشان دادن تصويري از نياز زنانه، نياز فرانسه را در گوش هم وطنانش بانگ مي زند تا به ياري ميهن بشتابند، عشق مشتركي كه در بند است.
چكيده لاتين :
In this article, Louis Aragon is introduced as a contemporary feminist poet and writer; A poet who engaged simultaneously and identically in the two phenomena, Feminism and Resistance, during the World War II. He, unlike those who consider women as limits to the power of the battlers, praises women in all his works. He explicitly declares that it has been his beloved who has granted him the spirit and vigor to resist and continue living within the war. His themes, styles and examples and, in fact, the major parts of his works are full of Elsa’s feminine presence; and he does so, so exaggeratedly in some eras of his life, that nearly puts all his commitments to his country and nationality in doubt. But these panoramas are not able to mislead the reader who is aware of the depression and censorship atmosphere of the same era; an era which affects the structure and superposes the common contents of all his works.
There commences and continues a movement, from Elsa to France, traversing the evocation of other feminine figures, images of beauty and magnificence of culture. Aragon has attributed to France too, all the values he had primarily dedicated to his beloved, as an adorable and lively feminine character. This image is greatly developed in “More beautiful than the Tears”, in which the admiration of one’s homeland is being manifested through the exaltation of a feminine body.
Love, herein, finds a dual aspect. It is, at the same time, a human love and the love for one’s homeland; a homeland, of which the flag is defined through the very feminine images.
This is the manner of a French poet-writer, who, initiating the Poetry of the Resistance through adopting an implied style so as to seem legal against its contemporary censorship ambiance plays a brilliant role within the war. He impliedly praises France, which is frustrated by the war and summons up his compatriots to save their common love, their homeland, France; which is, per se, well realized in the emblematic eyes of Elsa, his beloved woman.
