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فاصلهگذاری روایی در منظومههای نظامی | ||
| زبان و ادب فارسی (نشریه سابق دانشکده ادبیات دانشگاه تبریز) | ||
| مقاله 5، دوره 68، شماره 231، بهار 1394، صفحه 77-108 اصل مقاله (564.82 K) | ||
| نویسندگان | ||
فیروز فاضلی  1؛ محمد اصغرزاده2
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| 1استادیار دانشگاه گیلان- ریاست اداره فرهنگ و ارشاد اسلامی استان گیلان | ||
| 2دانشجوی دکترا دانشگاه گیلان | ||
| چکیده | ||
| فاصله گذاری نمایشی به شکل مدوّن، نخستین بار توسط برتولت برشت نمایشنامهنویس و کارگردان تئاتر آلمانی مطرح شد اما ریشة این عنوان به تقسیمبندیهای افلاطون و ارسطو در باب تراژدی و حماسه باز میگردد. ارسطو تراژدی را نمایشی و حماسه را روایی میدانست. از آنجایی که برشت معتقد بود توهم عینیت در نمایش مخاطب را از نگاه مستقل به آن بازداشته و قدرت قضاوت را از او سلب میکند، با نگاه به نظریة ارسطو در باب حماسه و مطالعة داستانهای شرقی نوعی نمایش مبتنی بر روایت و فاصلهگذاری پدید آورد. در ادبیات کلاسیک فارسی نمایشنامهنویسی وجود نداشت و منظومههای حماسی و غناییِ نمایشی در قالبی روایی سروده میشد و این در تضاد با نظریة ارسطو در باب غیرروایی بودن داستانهای تراژیک است؛ در نتیجه آثار غناییِ نمایشی فارسی نیز مانند آثار حماسی برخوردار از فاصلهگذاریهایی است که بیشتر از آنکه دلایلی برشتی داشته باشند، ریشه در سنّت اندیشهای جهان شرق دارند. در این پژوهش بعد از تشریح فاصلهگذاری در حماسة ارسطویی و تئاتر برشتی، فاصلهگذاریهای منظومههای نظامی به عنوان برجستهترین آثار غناییِ نمایشی فارسی مورد تدقیق قرار میگیرند تا از سویی، به استدراک جهان معنایی داستان فارسی پرداخته و از دیگر سو، روایت فاصلهگذارانة این آثار را به عنوان یک نقصان در دوری آنها از عینیت و انسجام نمایشی مورد واکاوی قرار دهیم. | ||
| کلیدواژه‌ها | ||
| فاصلهگذاری؛ روایت؛ نمایش؛ برشت؛ نظامی | ||
| عنوان مقاله [English] | ||
| Spacing in nizami poems | ||
| نویسندگان [English] | ||
| Firouz Fazeli1؛ Mohammad Mohammad2 | ||
| 1Assistant professor at gilan University | ||
| 2PHD candidate of gilan University. | ||
| چکیده [English] | ||
| dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidarity | ||
| کلیدواژه‌ها [English] | ||
| Spacing, narrative, drama, brecht, nizami | ||
| مراجع | ||
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آمار تعداد مشاهده مقاله: 1,081 تعداد دریافت فایل اصل مقاله: 584 |
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