پيوندخوردگي هويّت در نظريه پسااستعماري: مطالعه موردي فيلم پيانيس تاثر رومن پُلانسكي

Hybridization of Identity in Postcolonial Theory: The Case Study of Roman Polanski’s The Pianist

چكيده رويكرد پسااستعماري صرفاً به بررسي متن هاي نويسندگان استعمارزده خلاصه نمي شود. نظريه پردازان اين رويكرد، با تاكيد بر واكاوي ميا نكنشِ فرادست و فرودست، م يكوشند مفاهيم و موضوعات مهمي همچون هويّت، پيوندخوردگي، روايت ملّيت، تبعيد و مهاجرت را از نگاه تازه اي نقد و بررسي كنند. ازاي نرو، به چالش كشيدن گفتمان غالب، بازسنجي متن هاي القا كننده ايديولوژي، بازانديشي در روابط شخصيت ها و در كل خلق فضاهايي براي كنشگريِ فرودست و پاسخ گويي او به قدرت از محورهاي اصلي اين رهيافت است. هدف اين مقاله نيز در وهله اوّل تبيين و تشريح اين محورها و سپس بررسي كاربست آ ن ها بر پيكره فيلمي از رُومن پُلانسكي ) پيانيست( است، كه البته براي رسيدن به اين مهم، از آراي برخي از انديشمندان و نظريه پردازان مطرح حوزه مطالعات پسااستعماري )ادوارد سعيد، رابرت يانگ و به ويژه هُمي كي. بابا( بهره گرفته ايم. بابا بر اين باور است كه هويّت ها پيوندخورد هاند، و نگاه ذا تانگارانه و سلسله مراتبي به اين مقوله در دنياي امروز جايي ندارد. همچنين، وي با طرح ايده «مذاكره هويّت ها »، پيوندخوردگي را نوعي «راهبرد زنده ماندن » معرفي م يكند، كه اين موضوع در فيلم پيانيست و در مورد قهرمان آن كاملاً مصداق مي يابد.

Abstract Postcolonial approach to literature is not merely restricted to analyzing the texts produced by those who have experienced the bitter taste of colonization. The theorists of the field (Homi K. Bhabha, Edward Wadie Said, Gayatri Chakravorty Spivak, Robert J. C. Young, to name but a few) are mostly interested in the interaction of colonizers/subalterns, and attempt to take a fresh look at the important concepts of identity, hybridity, narratives of nation, im/migration and so on and so forth. Therefore, challenging the dominant discourse, reconsidering the ideologically-charged texts, rethinking the relationship between characters, and overall, creating enunciatory spaces for the subalterns (in which) to act and speak back to power become the main pillars of this critical approach. In this way, this article attempts to introduce and expound on these ideas and then to analyze the application of them to a Roman Polanski film (The Pianist), mainly in the light of Homi K. Bhabha’s ideas. Bhabha holds that identities are hybrid, and repudiates any essentialist, hierarchical view of it. He puts forth the idea of “negotiations of identity”, and goes on to call hybridity a “strategy of survival”. In general, postcolonial theory maintains that identity is constructed through a negotiation of difference. In the movie Pianist (2002) we see the main character, Wladyslaw, is always on the move and as an exile he has to redefine the concepts of home and belonging for himself frequently. We believe that Polanski’s mere act of recording his personal trauma of the Second World War into a feature film is itself a postcolonial act, because he tries to rewrite the colonial history from a postcolonial perspective. This sheer act of ‘re-membering’ becomes a necessary but perilous bridge between the trauma of colonial oppression and post-colonial survival, which is not only nostalgic but is almost always accompanied with a sort of Bhabhaian ‘time-lag’. The other important point in the film is notion of ‘third-space’, which is the proper site of inbetweenness within the locality of cultural translation. Wladyslaw resides in this transnational/translational site of enunciation and negotiation. What we witness in Polanski’s movie is more than anything else an archetypal quest on the part of the hero to overcome the binary of belonging/non-belonging, to come to terms with the “representational strategies of real and imagined places.” This trans-national space if a site of (both personal and collective) resistance, on which the essentialist issues of race, class, gender, nationality, etc. have no bearing whatsoever. All in all, this research was an attempt to go through the notions of ‘hybridity’ and ‘identity’ from a postcolonial vista and to trace those concepts in Polanski’s movie, which turned out to be quite receptive of such a (postcolonial) reading. The Pianist was a tribute to transcendentality of art (especially music) and it amazingly showed that art is not bound to ethnic, national, political or religious boundaries and it creates an enunciatory space of its own.