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Article-755-623839.Pdf دوﻣﺎﻫﻨﺎﻣﺔ ﻋﻠﻤﻲ - ﭘﮋوﻫﺸﻲ 9د ، ش 1 (ﭘﻴﺎﭘﻲ 43 )، ﻓﺮوردﻳﻦ و اردﻳﺒﻬﺸﺖ 1397 ، ﺻﺺ 81 - 111 ﺗﺤﻠﻴﻞ ﻛﺎرﻛﺮد ﮔﻔﺘﻤﺎﻧﻲ ﻃﻨﺰ در ﺑﺎب اول ﮔﻠﺴﺘﺎن ﺳﻌﺪي؛ روﻳﻜﺮد ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺳﻲ ﻗﻬﺮﻣﺎن ﺷﻴﺮي1 ، ﻧﺠﻤﻪ ﻧﻈﺮي2 ، ﻧﻮﺷﻴﻦ ﺑﻬﺮاﻣﻲ ﭘﻮر3* 1 . اﺳﺘﺎد ﮔﺮوه زﺑﺎن و ادﺑﻴﺎت ﻓﺎرﺳﻲ داﻧﺸﮕﺎه ﺑﻮﻋﻠﻲ ﺳﻴﻨﺎ، ﻫﻤﺪان، اﻳﺮان 2 . اﺳﺘﺎدﻳﺎر ﮔﺮوه زﺑﺎن و ادﺑﻴﺎت ﻓﺎرﺳﻲ داﻧﺸﮕﺎه ﺑﻮﻋﻠﻲ ﺳﻴﻨﺎ ، ﻫﻤﺪان، اﻳﺮان 3 . داﻧﺸﺠﻮي دﻛﺘﺮي زﺑﺎن و ادﺑﻴﺎت ﻓﺎرﺳﻲ داﻧﺸﮕﺎه ﺑﻮﻋﻠﻲ ﺳﻴﻨﺎ ، ﻫﻤﺪان، اﻳﺮان درﻳﺎﻓﺖ: /4/24 96 ﭘﺬﻳﺮش: /8/6 96 96 ﭼﻜﻴﺪه ﻫﺪف اﻳﻦ ﻣﻘﺎﻟﻪ ﭘﻴﺎده ﺳﺎزي روش ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺳﻲ ﺑﺮاي دﺳﺘ ﻴﺎﺑﻲ ﺑﻪ اﻟﮕﻮ ﻳﺎ اﻟﮕﻮﻫﺎي ﺣﺎﻛﻢ ﺑﺮ ﻓﺮاﻳﻨﺪﻫﺎي ﻣﻌﻨﺎﻳ ﻲ ﻛﻨﺸﻲ و ﺗﻨﺸﻲ و ﻧﺸﺎن دادنِ ﺗﺄﺛﻴﺮ ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺑﺮ ﻓﺮاﻳﻨﺪﻫﺎي ﻣﺬﻛﻮر در ﺑﺴﺘﺮ ﮔﻔﺘﻤﺎن ﻃﻨﺰ ﺑﺎب اول ﮔﻠﺴﺘﺎن ﺳﻌﺪي اﺳﺖ واز اﻳﻦ ﺟﻬﺖ، ﻧﺨﺴﺘﻴﻦ ﻛﻮﺷﺶ ﺑﻪ ﺷﻤﺎر ﻣﻲ آﻳﺪ. ﻣﻘﺼﻮد از ﻃﻨﺰ، ﺳﺨﻦ ﻣﻄﺎﻳﺒﻪ آﻣﻴﺰِ اﻧﺘﻘﺎدي اﺳﺖ ﻛﻪ ﺑ ﺎ ﻫﺪف اﺻﻼح اﺟﺘﻤﺎﻋﻲ و ﺑﻪ ﻛﻤﻚ ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ در ز ﺑﺎن ﺷﻜﻞ ﻣﻲ ﮔﻴﺮد و ﺑﺎ ﻫﺰل و ﻫﺠﻮ ﻓﺮق دارد. روش ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺳﻲ در ﭘﻲ ﺗﺠﺰﻳﻪ و ﺗﺤﻠﻴﻞ ﮔﻔﺘﻤﺎن ﺑﺮاي ﭘﻲ ﺑﺮدن ﺑﻪ ﺷﺮاﻳﻂ ﺗﻮﻟﻴﺪ و درﻳﺎﻓﺖ آن اﺳﺖ. ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎس ﺑﺎ ﻣﺠﻤﻮﻋﻪ اي ﻣﻌﻨﺎدار روﺑﻪ روﺳﺖ ﻛﻪ در ﻣﺮﺣﻠﺔ ﻧﺨﺴﺖ ﻓﺮﺿﻴﻪ ﻫﺎي ﻣﻌﻨﺎﻳﻲ و ﻧﻮع ارﺗﺒﺎط آن ﻫﺎ ﺑﺎ ﻳﻜﺪﻳﮕﺮ را در ﻧﻈ ﺮ ﻣﻲ ﮔﻴﺮد . ﺳﭙﺲ ، ﺑﻪ ﺟﺴﺖ وﺟﻮي ﺻﻮرت ﻫﺎﻳﻲ ﻛﻪ ﺑﺎ اﻳﻦ ﻓﺮﺿﻴﻪ ﻫﺎي ﻣﻌﻨﺎﻳﻲ ﻣﻄﺎﺑﻘﺖ دارﻧﺪ، ﻣﻲ ﭘﺮدازد ﺗﺎ اﺛﺒﺎت آن ﻓﺮﺿﻴﻪ ﻫﺎ ﻣﻴﺴﺮ ﺷﻮد. ﻓﺮﺿﻴﺔ ﭘﮋوﻫﺶ ﺣﺎﺿﺮ اﻳﻦ اﺳﺖ ﻛﻪ ﻓﺮاﻳﻨﺪ ﻣﻌﻨﺎﻳﻲ در ﮔﻔﺘﻤﺎن ﻃﻨﺰ ﻧﻈﺎم ﻛﻨﺸﻲ را ﺑﻪ ﺗﻨﺸﻲ ﺗﺒﺪﻳﻞ ﻣﻲ ﻛﻨﺪ و ﺑﺎ ﺑﺮﻗﺮاري ﺗﻌﺎﻣﻞ ﺑﻴﻦ اﺑﻌﺎد ﻓﺸﺎره اي (ﻋﺎﻃﻔﻲ، دروﻧﻲ) و ﮔﺴﺘﺮه اي (ﺷﻨﺎﺧﺘﻲ، ﺑﻴﺮوﻧﻲ) ﻓﻀﺎﻳﻲ ﺳﻴﺎل را ﻣﻲ آﻓﺮﻳﻨﺪ ﻛﻪ ﺧﻠﻖ ﻣﻌﻨﺎﻳﻲ ﺑﺪﻳﻊ را ﻣﻤﻜﻦ ﻣﻲ ﺳﺎزد. در ﻃﻨﺰ ﺣﻀﻮر ﺣﺴﻲ ـ ادراﻛﻲ ﻛﻨﺸﮕﺮ و در ﻣﺮﺣﻠﺔ ﺑﺎﻻﺗﺮ ﮔﻔﺘﻪ ﭘﺮداز ﺑﻪ ﺗﻨﺶ ﺑﻴﻦ اﺑﻌﺎد ﻓﺸﺎره اي و ﮔﺴﺘﺮه اي ﻧﻴﺮوﻳﻲ ﻣﻲ ﺑﺨﺸﺪ ﻛﻪ ﺑﺮوﻧﻪ ﻫﺎي زﺑﺎن را از دروﻧﻪ ﻫﺎي راﻳﺞ، ﺗﻬﻲ ﻣﻲﻛ ﻨﺪ و ﺑﻪ ﺟﺎي آن دروﻧﻪ ﻫﺎﻳﻲ ﻣﺘﻔﺎوت ﻗﺮار ﻣﻲ دﻫﺪ. دﮔﺮﮔﻮﻧﻲ در راﺑﻄﺔ دروﻧﻪ ـ ﺑﺮوﻧﺔ زﺑﺎﻧﻲ از وﻳﮋﮔﻲ ﻫﺎي ﻃﻨﺰ اﺳﺖ ﻛﻪ ﺑﻪ وﺳﻴﻠﺔ ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ، ﺳﺒﺐ ﺗﻐﻴﻴﺮ ازرش ﻫﺎي ﻫﻤﻪ ﺑﺎور و ﺧﻠﻖ ارزش ﻫﺎي ﻧﻮ در اﻳﻦ ﮔﻔﺘﻤﺎن ﻣﻲ ﺷﻮد. واژه ﻫﺎ ي ﻛﻠﻴﺪي : ﮔﻔﺘﻤﺎن ﻃﻨﺰ ، ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺳﻲ ، ﻓﺮاﻳﻨﺪ ﺗﻨﺸﻲ ، ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ، ﮔﻠﺴﺘﺎن ﺳﻌﺪي. ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ∗ ﻧﻮﻳﺴﻨﺪ ة ﺌﻣﺴ ﻮل ﻣﻘﺎﻟﻪ : Email: [email protected] ﻗﻬﺮﻣﺎن ﺷﻴﺮي و ﻫﻤﻜﺎران ﺗﺤﻠﻴﻞ ﻛﺎرﻛﺮد ﮔﻔﺘﻤﺎﻧﻲ ﻃﻨﺰ در ... ... 1 . ﻣﻘﺪﻣﻪ 1 ﻃﻨﺰ ﻳﻜﻲ از ﺣﻮزه ﻫﺎي ﮔﺴﺘﺮده و ﺟﺬاب ادﺑﻴﺎت ﻓﺎرﺳﻲ اﺳﺖ ﻛﻪ ﺗﻮﺟﻪ ﺑﺴﻴﺎري از ﭘﮋوﻫﺸﮕﺮان را ﺟﻠﺐ ﻛﺮده ؛ اﻣﺎ آﻧﭽﻪ ﺗﺎﻛﻨﻮن اﻧﺠﺎم ﮔﺮﻓﺘﻪ ، ﺑﻴﺸﺘﺮ ﺑﺮ ﻣﺤﻮر ﺗﺤﻠﻴﻞ آراﻳﻪ ﻫﺎي ادﺑﻲ و ﻣﺤﺘﻮاي 3 2 ﻃﻨﺰ ﺑﻮده اﺳﺖ. ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺳﻲ ﮔ ﻔﺘﻤﺎن (ﻣﻜﺘﺐ ﭘﺎرﻳﺲ ﺑﻪ) ﻋﻨﻮان روﺷﻲ ﺟﺎﻣﻊ ﺑﺮاي ﺑﺮرﺳﻲ « ﻃﻨﺰ ﺑﻪ ﻋﻨﻮان ﻳﻚ ﮔﻔﺘﻤﺎن » اﻳﻦ اﻣﻜﺎن را ﻓﺮاﻫﻢ ﻣﻲ ﻛﻨﺪ ﺗﺎ « ﺳﺎﺧﺘﺎر ﺳﻴﺎل ﻃﻨﺰ » ﺗﺤﻠﻴﻞ ﺷﻮد و 4 ﻓﺮاﻳﻨﺪ « ﺗﻮﻟﻴﺪ، ﺗﻐﻴﻴﺮ و درﻳﺎﻓﺖ ﻣﻌﻨﺎ » در ﻓﻀﺎي ﺗﻌﺎﻣﻠﻲ ﺑﻴﻦ ﻋﻨﺎﺻﺮ اﻳﻦ ﮔﻔﺘﻤﺎن آﺷﻜﺎر ﺷﻮد. ﻃﻨﺰ 6 5 ﺑﻪ ﻋﻨﻮان ﮔﻔﺘﻤﺎن ، ﺑﺎ ﺑﺮﺧﻮرداري از ﻣﻮﺿﻊ ﮔﻴﺮي وﻳﮋه، ﻣﻮﻓﻖ ﺑﻪ اﻳﺠﺎد دﮔﺮﮔﻮﻧﻲ در ارﺗﺒﺎط 10 9 8 7 ﺑﺮوﻧﻪ - دروﻧﺔ زﺑﺎﻧﻲ ﻣﻲ ﺷﻮد و ﻧﻈﺎم ﻣﻌﻨﺎ را از ﻛﻨﺶ ﻣﺤﻮري ﺑﻪ ﺳﻤﺖ ﻓﺮاﻳﻨﺪ ﺗﻨﺸﻲ ﺑﺎ 11 ﻛﺎرﻛﺮد ﻓﺸﺎره اي ـ ﮔﺴﺘﺮه اي ﻣﻲ ﻛﺸﺎﻧﺪ. 14 13 12 در ﮔﻔﺘﻤﺎن ﻃﻨﺰ ﺣﻀﻮر ﺣﺴﻲ ـ ادراﻛﻲ ﻛﻨﺸﮕﺮ و در ﻣﺮﺣﻠﺔ ﺑﺎﻻﺗﺮ ﮔﻔﺘﻪ ﭘﺮداز ﺑﻪ ﺗﻨﺶ ﺑﻴﻦ اﺑﻌﺎد ﻓﺸﺎره اي و ﮔﺴﺘﺮه ،اي ﻧﻴﺮوﻳﻲ ﻣﻲ ﺑﺨﺸﺪ ﻛﻪ ﺑﺮوﻧﻪ ﻫﺎي زﺑﺎن را از دروﻧﻪ ﻫﺎي راﻳﺞ، ﺗﻬﻲ 15 ﻣﻲ ﻛﻨﺪ و ﺑﻪ ﺟﺎي آن دروﻧﻪ ﻫﺎﻳﻲ ﻣﺘﻔﺎوت ﻗﺮار ﻣﻲ دﻫﺪ . در اﻳﻦ ﻓﻀﺎ ارزش ﻫﺎي 16 ﻫﻤﻪ ﺑﺎور ﺑﻪ واﺳﻄﺔ ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺑﻪ ﭼﺎﻟﺶِ ﻓﺮاﺧﻮاﻧﺪه ﺷﺪه، دﮔﺮﮔﻮن ﻣﻲ ﺷﻮﻧﺪ. در اﻳﻦ ﻧﻮﺷﺘﺎر ﻣﻘﺼﻮ د از ﻃﻨﺰ ﺳﺨﻦ ﻣﻄﺎﻳﺒﻪ آﻣﻴﺰِ اﻧﺘﻘﺎد ي اﺳﺖ ﻛﻪ ﺑﺎ ﻛﻤﻚ ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ در زﺑﺎن ﺑﻪ ﻫﺪف اﺻﻼح اﺟﺘﻤﺎﻋﻲ ﺷﻜﻞ ﻣﻲ ﮔﻴﺮد ﻛﻪ ﺑﺎ ﻫﺰل و ﻫﺠﻮ ﻓﺮق دارد . ﭘﺲ ، ﺿﻤﻦ ﺑﺮرﺳﻲ ﻣﺨﺘﺼﺮ ﺷﺒﺎﻫﺖ ﻫﺎ و ﺗﻔﺎوت ﻫﺎي ﻃﻨﺰ ﺑﺎ ﻫﺰل و ﻫﺠﻮ، ﺑﻪ ﺑﺤﺚ اﺻﻠﻲ از ﺧﻼل ﭘﺎﺳﺦ ﺑﻪ اﻳﻦ ﭘﺮﺳﺶ ﻫﺎ ﭘﺮداﺧﺘﻪ ﻣﻲ ﺷﻮد: - ﻃﻨ ﺰ ﭼﮕﻮﻧﻪ ﻓﺮاﻳﻨﺪ ﻣﻌﻨﺎﻳﻲ ﻛﻨﺸﻲ را ﺑﻪ ﻓﺮاﻳﻨﺪ ﺗﻨﺸﻲ ﺗﻐﻴﻴﺮ ﻣﻲ دﻫﺪ؟ - ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﭼﮕﻮﻧﻪ زﻣﻴﻨﺔ اﻳﺠﺎد ﺑﺎور و ﺷﻨﺎﺧﺖ ﻣﺘﻔﺎوت را در ﮔﻔﺘﻤﺎن ﻃﻨﺰ ﻓﺮاﻫﻢ ﻣﻲ آورد؟ ﭘﮋوﻫﺶ ﺣﺎﺿﺮ ﺑﺎ اﺳﺘﻔﺎده از ﻣﺒﺎﻧﻲ ﻧﻈﺮي ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺳﻲ، ﺑﺨﺶ ﻧﻈﺎم ﺗﻨﺸﻲ، ﺑﻪ ﻣﻨﻈﻮر دﺳﺘﻴﺎﺑﻲ ﺑﻪ اﻟﮕﻮ ﻳﺎ اﻟﮕﻮﻫﺎي ﺣﺎﻛﻢ ﺑﺮ ﻓﺮاﻳﻨﺪﻫﺎي ﻣﻌﻨﺎﻳﻲ ﻛﻨﺸﻲ و ﺗﻨﺸﻲ و ﺗﺄﺛﻴﺮ ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺑﺮ ﻓﺮاﻳﻨﺪﻫﺎي ﻣﺬﻛﻮر در ﺑﺴﺘﺮ ﮔﻔﺘﻤﺎن ﻃﻨﺰِ ﺑﺎب اول ﮔﻠﺴﺘﺎن ﺳﻌﺪي اﺳﺘﻮار اﺳﺖ. داده ﻫﺎ (ﺷﻮاﻫﺪ ﻣﺜﺎل ﻃﻨﺰ) از ﺑﺎب اول ﮔﻠﺴﺘﺎن ﺳﻌﺪي اﻧﺘﺨﺎب ﺷﺪه اﺳﺖ ﻛﻪ در ﻋﻴﻦ ﺑﺮﺧﻮرداري از وﻳﮋﮔﻲ اﻧﺘﻘﺎدي ﺑﻮدن و اﺻﻼح اﺟﺘ ﻤﺎﻋﻲ، آﻓﺮﻳﻨﺶ ﺟﺮﻳﺎن زﻳﺒﺎﻳﻲ ﺷﻨﺎﺧﺘﻲ ﺑﻪ ﺷﻜﻞ ﺑﺎرزﺗﺮ و 12 . SatireSém iotique d u discourse /Semiotics of discourse 3 . Ecole de Paris 4. Interactive 5 . Discourse 6 . Position 7 . Expression 8 . Conten t 9 . Action sy stem 10 . Tensive proces 11 . Contractive-Dilative 12 . Perceptive 13 . Subject 14 . Enunciator 15 . Value 16 . Aesthetics 82 ﺟﺴﺘﺎرﻫﺎي زﺑﺎﻧﻲ دورة 9 ، ﺷﻤﺎرة 1 (ﭘﻴﺎﭘﻲ 43 )، ﻓﺮو ردﻳﻦ و اردﻳﺒﻬﺸﺖ 1397 ﻗﻮي ﺗﺮ ﺑﺮاي ﺗﻘﻮﻳﺖ ﻣﻌﻨﺎي ﻃﻨﺰ ﺑﻪ ﻛﺎر ﮔﺮﻓﺘﻪ ﺷﺪه اﺳﺖ. ﺳﻌﺪي در اﻳﻦ ﺑﺎب رﻓﺘﺎر ﺣﺎﻛﻤﺎن را ﻫﺪف ﻗﺮار داده ﺑﻪو ﻛﻤﻚ ﻃﻨﺰ از آﻧﭽﻪ ﻧﻤﻲ ﭘﺴﻨﺪﻳﺪه، اﻧﺘﻘﺎد ﻛﺮده اﺳﺖ. ﻗﺎﻟﺐ ﻧﮕﺎرش ﮔﻠﺴﺘﺎن رواﻳﺖ (ﺣﻜﺎﻳﺖ ﭘﺮدازي) اﺳﺖ، ﻧﻈﺎم ﻣﻌﻨﺎﻳ ﻲ ﻛﻨﺸﻲ ﺳﻴﺮ رواﻳﻲ را ﺑﻪ ﭘﻴﺶ ﻣﻲ ﺑﺮد ؛ اﻣﺎ اوج ﻳﺎ ﺑﺰﻧﮕﺎه ﻃﻨﺰ ﺑﻪ وﺳﻴﻠﺔ ﻓﺮاﻳﻨﺪ ﺗﻨﺸﻲ ﺷﻜﻞ ﻣﻲ ﮔﻴﺮد؛ ﺑﻪ اﻳﻦ ﺻﻮرت ﻛﻪ ﻣﻌﻨﺎ در ﻓﻀﺎي ﻓﺸﺎره اي ـ ﮔﺴﺘﺮه اي، ﺑﻴﻦ ﺷﻨﺎﺧﺖ و ﻋﺎﻃﻔﻪ در ﻧﻮﺳﺎن اﺳﺖ و اﻳﻦ ﺑ ﻌﺪ ﻓﺸﺎره اي و ﻋﺎﻃﻔﻲ ﻃﻨﺰ اﺳﺖ ﻛﻪ ﺑﻪ واﺳﻄﺔ ﻛﻨﺸﮕﺮان ﺟﺮﻳﺎن ﻣﻌﻨﺎ را ﺑﻪ ﺳﻤﺘﻲ از ﺷﻨﺎ ﺧﺖ ﻫﺪاﻳﺖ ﻣﻲ ﻛﻨﺪ ﻛﻪ ﻣﻮرد ﻧﻈﺮ راوي (ﺳﻌﺪي) اﺳﺖ ﺗﺎ ﻧﮕﺮش اﻧﺘﻘﺎدي او را ﻧﺴﺒﺖ ﺑﻪ اﺟﺘﻤﺎع ﻧﺸﺎن دﻫﺪ و ارزش ﻫﺎي راﻳﺞ را ﺑﻪ ﭼﺎﻟ ﺶ ﻓﺮا ﺑﺨﻮاﻧﺪ. اﻧﺘﻈﺎر ﻣﻲ رود اﻳﻦ ﭘﮋوﻫﺶ ﻓﺮاﻳﻨﺪ ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺧﺘﻲ ﻃﻨﺰ را در ﺑﺎب اول ﮔﻠﺴﺘﺎن ﺳﻌﺪي ﺑﺸﻨﺎﺳﺪ و اﻟﮕﻮ ﻳﺎ اﻟﮕﻮﻫﺎي ﻧﻈﺎم ﺗﻨﺸﻲ را در ﻧﻤﻮﻧﻪﻫ ﺎي اﻳﻦ ﻣﺘﻦ ﺗﺸﺨﻴﺺ دﻫﺪ. .2 ﭘﻴﺸﻴﻨﺔ ﭘﮋوﻫﺶ ﺗﺎﻛﻨﻮن ﭘﮋوﻫﺶ ﻫﺎي ﮔﺴﺘﺮده اي ﺑﺎ ﻣﺤﻮرﻳﺖ ﻃﻨﺰ اﻧﺠﺎم ﺷﺪه اﺳﺖ ﻛﻪ ﻣﻬﻢ ﺗﺮﻳﻦ آن ﻫﺎ ذﻛﺮ ﻣﻲ ﺷﻮد: ﻛﺮﻣﻲ و ﻫﻤﻜﺎران ( 1388 )در ﻣﻘﺎﻟﺔ « ﭘﮋوﻫﺸﻲ در ﺗﺌﻮري و ﻛﺎرﻛﺮد ﻃﻨﺰ ﻣﺸﺮوﻃﻪ» ﺣﻮزة ﻣﻄﺎﻳﺒﻪ و ﻃﻨﺰ را در ﺳﻪ ﺑﺨﺶ ﺗﺌﻮري، ﻛﺎرﻛﺮد و ﺗﻜﻨﻴﻚ ﺑﺮرﺳﻲ ﻛﺮ ده اﻧﺪ؛ ﻣﻘﺎﻟﻪ ﺑﺮ اﻋﺘﺮاض و اﺻﻼح اﺟﺘﻤﺎﻋﻲ ﺑﻪ ﻋﻨﻮان ﻫﺪف ﻃﻨﺰ اﺳﺘﻮار اﺳﺖ و ﺑﻪ ﺳﺎﺧﺘﺎر ﻃﻨﺰ ﺗﻮﺟﻬﻲ ﻧﺪ ارد . در ﻣﻘﺎﻟﺔ « درآﻣﺪي ﺑﺮ ﻃﻨﺰ ﻋﺮﻓﺎﻧﻲ ﺑﺎ ﻧﮕﺎﻫﻲ اﻧﺘﻘﺎدي ﺑﻪ ﭘﮋوﻫﺶ ﻫﺎي ﻃﻨﺰ» ﭘﺲ از ﺑﺮرﺳﻲ اﻧﮕﻴﺰه ﻫﺎي ﻣﺮزﺑﻨﺪي ﺳﺨﻦ ﺟﺪ و ﻏﻴﺮﺟﺪ، ﺑﻪ ﻃﻨﺰ در ﻣﺘﻮن ﻋﺮﻓﺎﻧﻲ ﺑﺎ وﻳﮋﮔﻲ ﺧﺎص ﺑﺮﻫﻢ زدن ﺟﺰ ﻣﻴﺖ ﻫﺎ ﭘﺮداﺧﺘﻪ ﺷﺪه اﺳﺖ ( ر.ك: ﻣﺤﻤﺪي ﻛﻠﻪ ﺳﺮ و ﺧﺰاﻧﻪ دارﻟﻮ، 1390 ). ﭘﺰﺷﻜﺰاد در ﻛﺘﺎب ﻃﻨﺰ ﻓﺎﺧﺮ ﺳﻌﺪي ( 1381 ) ﺑﻪ ﺑﺮرﺳﻲ ﻛﺎرﻛﺮد اﻧﺘﻘﺎدي ﻃﻨﺰ در ﺑﻮﺳﺘﺎن و ﮔﻠﺴﺘﺎن ﭘﺮداﺧﺘﻪ اﺳﺖ. ﻛﺘﺎب ﺻﻼﺣﻲ، ﮔﻔﺘﺎر ﻃﺮب اﻧﮕﻴﺰ ( 1381 ) ﺷﺎﻣﻞ اﺳﺘﺨﺮاج ﺗﻌﺪادي از ﺣﻜﺎﻳﺖ ﻫﺎ و اﺑﻴﺎت ﺳﻌﺪي ﺑﺎ اﺷﺎراﺗﻲ ﻛ ﻮﺗﺎه ﺑﻪ ﻃﻨﺰ و ﻧﻜﺘﻪ ﭘﺮدازي ﻫﺎي ﻃﻨﺰآﻣﻴﺰ اﺳﺖ. اﺑﺮاﻫﻴﻤﻲ ﭘﻮر ( 1389) در ﻣﻘﺎﻟﺔ « ﺑﺮرﺳﻲ ﻋﻨﺎﺻﺮ ﻃﻨﺰآﻣﻴﺰ در ﻛﻼم ﺳﻌﺪي و ذﻛﺮ ﭘﺎره اي از ﻧﻜﺎت روان ﺷﻨﺎﺳﻲ » از ﻃﺮﻳﻖ ﺗﺤﻠﻴﻞ ﻣﻮﺿﻮع ﻃﻨﺰ و ﺷﮕﺮدﻫﺎي ﺑﻴﺎن در آﺛﺎر ﺳﻌﺪي، اﺳﺘﺪﻻل ﻛﺮده ﻛﻪ اﻧﺘﻘﺎد ﺳﻌﺪي ﺑﻪ اوﺿﺎع ﺟﺎﻣﻌﻪ، ﻧﻪ ﺑﺎ ﻣﺨﺎﻟﻔﺖ ، ﺑﻠﻜﻪ ﺑﺎ اﺣﺴﺎس ﻣﺴﺌﻮﻟﻴﺖ ﻫﻤﺮاه ﺑﻮده اﺳﺖ. ﭘﮋوﻫﺶ ﻫﺎﻳﻲ ﻧﻴﺰ در ﺑﺎب ﻓﻨﻮن ﻃﻨﺰ ﻧﻮﺷﺘﻪ ﺷﺪه اﺳﺖ ؛ ازﺟﻤﻠﻪ دوﻟﺖ آﺑﺎدي و داﻣﻦ ﻛﺶ در ﻣﻘﺎﻟﺔ « ﺗﺄﺛﻴﺮ ﺑﻼﻏﺖ در ﺑﺮﺟﺴﺘﻪ ﺳﺎزي ﻃﻨﺰ 83 ﻗﻬﺮﻣﺎن ﺷﻴﺮي و ﻫﻤﻜﺎران ﺗﺤﻠﻴﻞ ﻛﺎرﻛﺮد ﮔﻔﺘﻤﺎﻧﻲ ﻃﻨﺰ در ... ... ﮔﻠﺴﺘﺎن» ( 1391 ) ﺑﻼﻏﺖ ﻃﻨﺰ را از دﻳﺪﮔﺎه زﻳﺒﺎﻳﻲ ﺷﻨﺎﺳﻲ ﻛﻼﺳﻴﻚ ﺗﺤﻠﻴﻞ ﻛﺮده اﻧﺪ. در ﻫﻴﭻ ﭘﮋوﻫﺶ ﻳﺎ ﻛﺘﺎﺑﻲ دﻳﺪه ﻧﺸﺪ ﻛﻪ ﻃﻨﺰ، ﮔﻔﺘﻤﺎن ﺑﻪ ﺷﻤﺎر رود و ﮔﻔﺘﻤﺎن ﻃﻨﺰ ﺳﻌﺪي در ﮔﻠﺴﺘﺎن ﺑﺎ روﻳﻜﺮد ﻧﺸﺎﻧﻪ ﻣﻌﻨﺎﺷﻨﺎﺧﺘﻲ ﺑﺮاي ﻧﺨﺴﺘﻴﻦ ﺑﺎر در اﻳﻦ ﻧﻮﺷﺘﺎر ﺑﺮرﺳﻲ ﻣﻲ ﺷﻮد. 3 . ﻣﺒﺎﻧﻲ ﻧﻈﺮي ﭘﮋوﻫﺶ ﺑﻪ ﻣﻨﻈﻮر ﺗﻔﻜﻴﻚ ﺣﻮزة ﻃﻨﺰ از ﻫﺰل و ﻫﺠﻮ ﻻزم اﺳﺖ وﻳﮋﮔﻲ ﻫﺎي ﻫﺮ ﺳﻪ ﺑﻪ اﺧﺘﺼﺎر ﺑﻴﺎن ﺷﻮد. 1 3- . ﻃﻨﺰ ﺑﺎ ﻫﺠﻮ و ﻫﺰل ﭼﻪ ﺗﻔﺎوت ﻫﺎ و ﺷﺒﺎﻫﺖ ﻫﺎﻳﻲ دارد؟ 17 ﮔﺬﺷﺘﮕﺎن ﺷﻴﻮة ﺑﻴﺎن را در ادب ﻓﺎرﺳﻲ دو ﮔﻮﻧﻪ داﻧﺴﺘﻪ اﻧﺪ: ﺟﺪ و ﻫﺰل (درﺑﺮدارﻧﺪة ﻃﻨﺰ، ﻫﺠﻮ، ﻣﺰاح وﻏﻴﺮه): ﺑــــﻪ ﻣﺰاﺣــــﺖ ﻧﮕﻔــــﺘﻢ اﻳــــﻦ ﮔﻔﺘــــﺎر ﻫــــﺰل ﺑﮕــــﺬار و ﺟــــﺪ از او ﺑــــﺮدار (ﺳﻌﺪي، 1377 : 106 ) ) اﻣﺎ ﻣﺮز دﻗﻴﻖ و ﻣﻮرد ﺗﻮاﻓﻘﻲ ﺑﻴﻦ اﻧﻮاع ﻏﻴﺮ ﺟﺪ ﺗﻌﺮﻳ ﻒ ﻧﺸﺪه و ﻫﻤﻪ را در دﺳﺘﺔ ﻛﻠﻲ ﻫﺰل، ﻣﻘﺎﺑﻞ ﺳﺨﻦِ ﺟﺪ ﻗﺮار داده اﻧﺪ. ﻫﺰل در ﻟﻐﺖ ﺑﻪ ﻣﻌﻨﻲ ﻣﺰاح ﻛﺮدن، ﺑﻴﻬﻮده ﮔﻔﺘﻦ و ﺳﺨﻦ ﻏﻴﺮﺟﺪي آﻣﺪه اﺳﺖ (دﻫﺨﺪا، 1377 : ذﻳﻞ « ﻫﺰل» ). ﻣﺼﺎدﻳﻖ اﺻﻄﻼح ﻫﺰل دو ﻣﻌﻨﺎ دارد: « ﻳﻜﻲ اﺻﻄﻼﺣﻲ ﺑﺮاي اﺷﺎره ﺑﻪ ادﺑﻴﺎت ﻣﻄﺎﻳﺒﻪ آﻣﻴﺰ، ﻫﺠﻮ، ﻣﺰاح و ﻏﻴﺮه دﻳﮕﺮ، ﻧﻮﺷﺘﻪ ﻫﺎﻳﻲ ﻛﻪ ﭘﺎ ﺑﻪ درون ﺣﺮﻳﻢ ﻣﻤﻨﻮﻋﻪ ﻣﻲ ﮔﺬارﻧﺪ » (ﺷﻴﺮي، 1377 : 201 ). ﺗﻠﻘﻲ ﻫﺰل و ﻏﻴﺮﺟﺪ از ﺣﻮزة ادﺑﻴﺎت ﻣﻄﺎﻳﺒﻪ آﻣﻴﺰ ﺗﺤﺖ ﺗﺄﺛﻴﺮ ﻧﻴﺮوﻫﺎي ﺣﺎﻛﻢ در ﮔﺴﺘﺮة ﻗﺪرت، ﺑﺮآﻣﺪه از اﻧﮕﻴﺰه ﻫﺎﻳﻲ اﺳﺖ ﻛﻪ ﺑﻪ ﺣﺎﺷﻴﻪ راﻧﺪن اﻳﻦ ﺣﻮزه را در ﭘﻲ داﺷﺘﻪ اﺳﺖ (ﻣﺤﻤﺪي و ﺧﺰاﻧﻪ دار، 1390 : 69 ). ). اﺻﻄﻼح ﻫﺰل درﺑﺮداﻧﺪة ﻃﻨﺰ ﺑﻪ ﻣﻌﻨﻲ اﻣﺮوزي ﻫﻢ ﺑﻮده اﺳﺖ. ﺗﺎ ﭘﻴﺶ از دورة ﻣﻌﺎﺻﺮ در آﺛﺎر ادﺑﻲ ﻃﻨﺰ ﺑﻪ ﻣﻌﻨﻲ ﻧﺎز، اﻓﺴﻮس ﻛﺮدن و ﺳﺨﻦ ﺑﻪ رﻣﺰ ﮔﻔﺘﻦ آﻣﺪه اﺳﺖ (دﻫﺨﺪا، 1377 : ذﻳﻞ « ﻃﻨﺰ» ). ﻳﻚ ﺗﺤﻘﻴﻖ داﻧﺸﮕﺎﻫﻲ ﻧﺸﺎن ﻣﻲ دﻫﺪ ﻛﻪ از دﻫﺔ ﭘﻨﺠﺎه ﺷﻤﺴﻲ آﺷﻨﺎﻳﺎن ﺑﺎ ادﺑﻴﺎت اروﭘﺎﻳﻲ در ﻣﻮاﺟﻬ ﻪ ﺑﺎ آﺛﺎر و ﻧﻮﻳﺴﻨﺪﮔﺎن ﻣﻐﺮب زﻣﻴﻦ، ﺑﺮاي ﺑﺨﺸﻲ از ﻣﺘﻮن ادﺑﻲ ﻛﻪ ﺑﺎ اﺳﺘﻔﺎده از « زﺑﺎن ﻣﻄﺎﻳﺒﻪ » ﺑﻪ « اﻧﺘﻘﺎد » ﭘﺮداﺧﺘﻪ اﻧﺪ، واژة ﻃﻨﺰ را اﺧﺘﻴﺎر ﻛﺮده اﻧﺪ (ﻗﻮام و ﺗﺠﺒﺮ، 1388 : 185 )، ﺑﻪ اﻳﻦ ﺗﺮﺗﻴﺐ ، « اﻧﺘﻘﺎد ﻣﻄﺎﻳﺒﻪ آﻣﻴﺰ ﺑﺎ ﻧﻴﺖ اﺟﺘﻤﺎﻋﻲ » ﻃﻨﺰ را از ﺳﺨﻨﺎن دﻳﮕﺮ ﺟﺪا ﻛﺮد. 17 . Facetiae 84 ﺟﺴﺘﺎرﻫﺎي زﺑﺎﻧﻲ دورة 9 ، ﺷﻤﺎرة 1 (ﭘﻴﺎﭘﻲ 43 )، ﻓﺮو ردﻳﻦ و اردﻳﺒﻬﺸﺖ 1397 18 ﻫﺠﻮ ﻧﻴﺰ ﻳﻜﻲ از ﮔﻮﻧﻪ ﻫﺎي ﺳﺨﻦ ﻏﻴﺮﺟﺪ ﺑﻪ ﺷﻤﺎر ﻣﻲ رود و ﮔﺎﻫﻲ ﺑﻪ ﻣﻌﻨﺎي اﺻﻄﻼﺣﻲ ﻃﻨﺰ ﻧﺰدﻳﻚ ﻣﻲ ﺷﻮد.
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