نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانش‌آموختۀ دکتری زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه تبریز، تبریز، ایران.
2 دانشجوی دکتری زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه بوعلی سینا، همدان، ایران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Analyzing the emotional process of discourse in Bahar's Damavandiyeh and Fi Al-Bada. and Uras Trilogy by Ezzedin Meihoubi Semiotics, which is a semiotics derived from the school of Paris and the opinions of Grimes and Fontaine, is the transformation of Saussure's semiotics into a method of text analysis in which meaning is a fluid element that is formed in a discourse process. Diversed dimensions of the discourse system play a role in the formation of this discourse process, and one of these dimensions is highlighted in each text. In order to read the semiotic-semantic text, it is necessary to determine the pominent discourse dimension in the text first. In the current research, Authors have analyzed two poems by Ezzeddin Meihoubi and Damavandieh Bahar in terms of the formation of emotional process of discourse in a descriptive-analytical way. The reason for this choice was the similarities in the emotional scene and the common extra-linguistic texture of these two poems, which have automatically created a common tone and emotion. The results have indicated that in Bahar and Mihoubi's poem Fei Al-bada the emotional rush stage is expressed in an identical way. Furthermore, in both poems, anger is the central emotion of the emotional process of discourse. Also, effective verbs, emotional scene, narratee, and instigator have similar meanings in the poetry of both poets. Finally, the observation of the same emotional evaluation is another outcome of this research.
Introduction:
Semiotics, which is derived from the school of Paris and the opinions of Grimes and Fontaine, is the transformation of Saussure's semiotics into a method of text analysis in which meaning is a fluid element and is taken shape in a discursive and dynamic process. Different dimensions of the discourse system play a role in the formation of this discourse process, and one of these dimensions is highlighted in each text. In the current article, researchers have analyzed two poems by Ezzeddin Meihoubi and Damavandieh Bahar in terms of the emotional dimension of the discourse and the formation of the emotional process. The reason for this choice was the similarities in the emotional scene and the common extra-linguistic texture of these two poems, which has automatically created a common tone and emotion. In semiotics, meaning is created through meaning-making processes that are formed with the participation of the narrator and the narratee. This is due to the fact that "language has a gap and it is the narratee that fills this gap through an interactive activity".
Method:
Since emotion acts as a process in any text where the emotional dimension prevails, it is necessary to know its elements in order to analyze the mechanisms of this process. The following elements play a role in the emotional process of discourse: 1. Effective verbs. 2. Song and performance. 3. Object - perception. 4. Emotional scenes. 5. Vision or prospecting.
These elements have been involved in the emotional process of discourse form stages in the production of meaning, which are:
Emotional awakening: Emotional stimulation is the first stage of the emotional process of discourse in which the emotional awakener experiences a special feeling and an emotional presence is formed in him in terms of scope and cognition.
Emotional readiness or ability: At this stage, Instigator is in a state of tension during which he finds the necessary preparation to acquire an emotional identity.
Identity and emotional turmoil: The change of the rioter happens in this stage and the rioter reveals a certain emotional identity in this stage.
Emotional excitement: In the stage of emotional excitement, it is the physical expression of emotion that is clearly seen in the emotional scene.
Emotional evaluation: At this stage, we are no longer faced with Instigator who has a potential emotional identity. At this stage, Instigator's emotional identity has been actualized and displayed, and now it must be evaluated and judged.
Results and Discussion:
Both in Bahar and Meihoubi's poetry, effective verbs are originated from pre-discourse elements that make up the extra-linguistic texture of the poem. In Bahar's poem and Meihoubi's first poem, the emotional scene is very similar. The dialogue of both poets is encountering nature, which has a symbolic aspect. The emotional rioter in both poems is the poet himself as the narrator of the scene. In both poems, the narratee or the audience of Instigators is the moutntain, which in Meihobi's poem is a symbol of steadfastness, and in Bahar's poem, it is a symbol of the pent-up anger of long years of oppression. In addition to this, Instigator's audience is placed second, where the main purpose of both poets indicates the same implied meaning, are the people of the society. In Bahar's Damavandiyeh and Meihobi's poem Fei Al-bada..., the emotional phase of Shush is expressed in a completely identical way, and we can consider the two poems to be the result of a common discourse.
In both addressed poems, the emotional element of anger is expressed with the effective verb of demanding. In the stage of emotional evaluation of the two poems, a number of similarities are pinpointed, the most important of which is that the final evaluation of the emotional action of Instigators is positive and Instigators observe the society and those with him. In the evaluation phase, the effective verb of standing and certainty has been reached. The active verb in both poems is associated with the emotional element of anger and endurance. By comparing Bahar's Damavandiyeh with Oras Meihobi's triads, differences in terms of emotional and discursive similarities can be observed. The stage of emotional stimulation in both poems begins with the effective verb of “demanding” and with the letter “e”. However, in addition to anger and expectation, which have a tangible presence in both poems, other emotional elements are also added up to Meihobi's poem. These elements indicate the long wait in Meihobi's poetry to achieve the desire and reaching the ideal.
کلیدواژه‌ها [English]
عنوان مقاله [العربیة]
تحلیل العملیة الانفعالیة للخطاب فی الدماوندیة لبهار و فی البدء.. وثلاثیات اوراس لعزالدین میهوبی
چکیده [العربیة]السیمیائیة، وهی سیمیائیة مستمدة من مدرسة باریس وآراء غرایمز وفونتین، هی تحویل سیمیائیة سوسور إلى طریقة لتحلیل النص حیث یکون المعنى عنصرا سائلا یتشکل فی عملیة الخطاب. وتلعب الأبعاد المختلفة لنظام الخطاب دورا فی تشکیل عملیة الخطاب هذه، ویبرز أحد هذه الأبعاد فی کل نص. من أجل قراءة النص السیمیائی الدلالی لا بد أولا من تحدید البعد الخطابی البارز فی النص. قمنا فی هذا المقال بتحلیل قصیدتین لعز الدین میهوبی ودماوندیة بهار من حیث کیفیة تشکل عملیة الخطاب العاطفیة، بطریقة وصفیة تحلیلیة. وکان سبب هذا الاختیار هو التشابه فی المشهد العاطفی والنسیج الفوق لغوی المشترک لهاتین القصیدتین، مما خلق تلقائیا لهجة وعاطفة مشترکة. وأظهرت النتائج أن مرحلة الاندفاع العاطفی فی قصیدة بهار وقصیدة میهوبی "فی المشهد" یتم التعبیر عنها بطریقة متطابقة تماما. وفی کلتا القصیدتین، الغضب هو العاطفة المرکزیة فی العملیة العاطفیة للخطاب. کما أن الأفعال المؤثرة، المشهد الانفعالی، المتکلم، المتکلم، المحرض لها معانی متشابهة فی شعر کلا الشاعرین. نفس التقییم العاطفی هو نتیجة أخرى لهذا البحث.
کلیدواژه‌ها [العربیة]
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