نوع مقاله : مقاله پژوهشی

نویسندگان

• رمضان رضائی ¹
• علیرضا جلالی ²

¹ دانشیار، گروه زبان و ادبیات عربی، پژوهشگاه علوم انسانی و مطالعات فرهنگی، تهران، ایران.

² دانشجوی دکتری، گروه زبان و ادبیات عربی، دانشکده ادبیات و زبان‌های خارجی، دانشگاه اراک، اراک، ایران.

چکیده

یکی از مهم‌ترین گونه­های ادبی جدید «رمان رئالیستی دیجیتال» است که از داده‌های دیجیتالی، اطلاعاتی و تکنیک‌های فن‌آوری برای ساختن کالبد روایی و محتوایی بهره گرفته است. این گونة ادبیِ جدید در پرتو واقعیت دیجیتال مجازی و مسائل انسان معاصر به دگرگونی­هایی می پردازد که فرد را برای عبور از دنیای واقعی به دنیای مجازی همراهی می­ کند. محمد سناجله در ادبیات عربی و لیلا صادقی در ادبیات پارسی به این گونة جدیدِ روایی نظر داشته و آثاری را در این زمینه خلق کرده­اند. هدف از انجام این پژوهش واکاوی انگیزه­ های نویسندگان یاد شده در پرداختن به این گونه جدید ادبی و یافتن نقاط اشتراک و تفاوت آثار آنهاست. مهم­ترین نتایج این جستار که با  تکیه بر روش توصیفی ـ تحلیلی و با رویکرد تطبیقی به مقایسه رمان­های مذکور می­پردازد، حاکی از آن است که در این رمان­ها از نظر ظاهر و محتوا و نیز انتقال انسان از دنیای واقعی به دنیای مجازی، با یکدیگر شباهت دارند؛ اما در نحوة به کارگیری این عناصر با یکدیگر تفاوت دارد. به عنوان مثال سناجله از سه نوع تصویر یعنی تصویر متحرک همراه با صدا، تصویر ثابت همراه با صدا و تصویر ثابت بدون صدا بهره گرفته است، حال آنکه لیلا صادقی، تنها از نوع سوم؛ یعنی تصویر ثابت و بدون صدا بهره گرفته است.

کلیدواژه‌ها

• رمان معاصر
• دنیای الکترونیک
• رمان دیجیتال
• محمد سناجله
• لیلا صادقی

موضوعات

• ادبیات تطبیقی

عنوان مقاله [English]

A Comparative Study of Novels by Mohammad Sanajleh and Leila Sadeghi from the Perspective of Digital Literature (Based on the novels Shat, Frost, If she is Leila, then who am I? and Give me time to pass)

نویسندگان [English]

• Ramazan Rezaei ¹
• Aiireza Jalali ²

¹ Associate Professor in the Institute for Humanities and Cultural Studies, Tehran, Iran.

² Ph.D. Candidate of Arabic Language and Literature, Faculty of Literature and Foreign Languages, Arak University, Arak, Iran.

چکیده [English]

One of the most important emerging literary genres is the "digital realist novel," which uses digital data, information, and technological techniques to construct its narrative structure and content. This genre explores the transformations individuals undergo as they transition from the real world to the virtual world, reflecting on virtual digital reality and contemporary human issues. Mohammad Sanajla, in Arabic literature, and Leila Sadeghi, in Persian literature, have explored this new narrative form and produced works within this genre. This research aims to analyze the motivations of these authors in engaging with this emerging literary style and to identify the similarities and differences in their works. The most important findings of this research, employing a descriptive-analytical method and a comparative approach to examine the novels Shat and Frost by Sanajleh and If that is Leila, then who am I? and Make time for me to pass by Sadeghi, indicates that the mentioned novels are similar in terms of appearance (cover, title, and communication links). Also, they seem similar in terms of content (use of audio and visual elements), as well as in their depiction of the transition of humans from the real world to virtual worlds. However, the manner in which these elements are utilized differs among the novels. For example, Sanajleh used three types of images: moving images with sound, still images with sound, and still images without sound, whereas Leila Sadeghi used only the third type, that is still images without sound. 
Introduction:
Human thought today is witnessing a series of conclusions, including the end of history, the end of man (the writer), the end of metaphysics, the end of philosophy, and the end of ideology. As a new development, it also promises the emergence of a new stage in human history, referred to as the post-human era. In fact, today’s world is undergoing a profound transformation in technology and media, similar to the shift that occurred during the era of printing and writing, which led to the decline of oral culture. Consequently, the power and dominance of the printed book are also being challenged, and its end may be approaching. The information, digital, and communication revolution is the result of technological innovations. Contemporary literary discourse has also been shaped by this digital and technological wave. As a result of encountering the innovations of digital literature, the allure of globalization, the digitization of literary texts, and the transformation of the fundamental structures and elements of texts into technological media, literary discourse has distanced itself from the paper world and transitioned to the digital realm. This new situation has significantly contributed to the emergence of digital literature, literary genres such as digital stories, digital theater, and digital poetry.
Method:
The present study aims to explore the phenomenon of digital literature, particularly digital novels, as a new social development. It employs a descriptive-analytical approach and draws on comparative literature. Since both authors were pioneers of this literary genre and their works have attracted significant interest within their own societies, this study offers a fresh perspective on the subject.
Results and Discussion:
Digital literature, or electronic literature, is a relatively new field that has existed for less than two decades in the West. In the East, however, it has only emerged in the realm of fiction and narrative literature in recent years. The text in this literary genre relies on multimedia technology and computer use, particularly the Internet. Therefore, it utilizes information technology services and electronic software to construct both its external and internal frameworks.
The emergence of this literary genre can be traced back to a shift in intermediaries; specifically, after the Internet replaced paper as the primary medium. The Internet creates a small world and, according to McLuhan, a "global village". In fact, a digital text is like an embryo born in the womb of technology, nourished through digital tools and relationships. Therefore, literature will not truly be digital unless it offers the audience a space equal to or greater than that of the creator.
The technological aspect of this form of literature encompasses the collection of visual and audio elements, which gives it an unlimited potential. In fact, the use of the word "informational" in literature refers to the application of computers to collect, organize, analyze, categorize, and rewrite texts, thereby achieving a level of innovation in literary works. The text is thus set free from the constraints of a linear structure, becoming dynamic and fluid due to its infinite flexibility.
These diverse dimensions require various intermediaries and shared sensory modalities—auditory, visual, and tactile. Consequently, computer technology has introduced new tools for editing, communication, and research to both writers and readers, enabling them to convey their thoughts through sound, images, and moving visuals.
In Arab literature, the founder of digital literature is considered to be the Jordanian novelist and critic Mohammed Sanajlah. The digital novel Al-Raqmiyah is also known in Arabic as "al-Nasa al-Mutrabat" because its associated text, along with other interactive digital elements and language (HTML), plays a significant role in its creation.
Conclusion:
After analyzing several digital novels by Mohammad Sanajleh and Leila Sadeghi, this research reached the following key conclusions: The aforementioned authors have utilized various features derived from hypertext technology, which enable the linking of texts to one another. Therefore, the language of their digital novels does not rely solely on words; rather, words are part of a whole that includes images, sound, cinematic visuals, and movement. Movement is perhaps one of the most important elements because the other components depend on it, and without movement, they lack appeal and become dull.
Therefore, the structure of their digital novels evolves within the digital shaping triangle: image, music (sound), and word (writing). This approach compels the audience to engage all their senses to derive meaning. The digital novels of Mohammad Sanajleh and Leila Sadeghi represent a new type of narrative in both form and theme (content). The covers of Sanajleh and Sadeghi's digital novels serve as a showcases that attract the audience and readers. Since the cover of digital novels differs from that of classic hardcover novels, the graphic and visual elements—such as geometric shapes and a diverse range of colors—on the cover of digital novels signify their digital nature, creating a unique aesthetic appeal for the audience.

کلیدواژه‌ها [English]

• Contemporary novel
• Electronic world
• Digital novel
• Mohammad Sanajleh
• Leila Sadeghi

عنوان مقاله [العربیة]

دراسة مقارنة لروایتی محمد سناجلة ولیلى صادقی من منظور الأدب الرقمی (اعتمادا علی روایات شات، صقیع، اگه اون لیلاست پس من کی ام؟ و وقتم کن تا بگذرم)

چکیده [العربیة]

ومن أهم الأنواع الأدبیة الجدیدة "الروایة الواقعیة الرقمیة" التی تستخدم البیانات والمعلومات الرقمیة والتقنیات التکنولوجیة لبناء جسم ومحتوى روائی. یتناول هذا النوع الأدبی الجدید التحولات التی تصاحب انتقال الإنسان من العالم الواقعی إلى العالم الافتراضی فی ضوء الواقع الرقمی الافتراضی وقضایا الإنسان المعاصرة. وقد اعتبر محمد سنجلة فی الأدب العربی ولیلى صادقی فی الأدب الفارسی هذا النوع الجدید من السرد وأبدعا أعمالا فی هذا المجال. یهدف هذا البحث إلى تحلیل دوافع المؤلفین المذکورین فی التعامل مع هذا النوع الأدبی الجدید وإیجاد القواسم المشترکة والاختلافات فی أعمالهم. أهم نتائج هذا البحث اعتماداً على المنهج الوصفی التحلیلی وعلى المنهج المقارن لمقارنة روایتی "الشط" و"الصقیع" للسناجلة و"إذا کانت تلک لیلى فمن أنا؟" و"خصصوا لی وقتا للمرور" یقول صادقی، فهو یدل على أن الروایات المذکورة من حیث المظهر (الغلاف والعنوان وصلات الاتصال) والمضمون (استخدام المرافق السمعیة والبصریة) فضلا عن نقل الإنسان من الواقع. العالم إلى عوالم افتراضیة متشابهة مع بعضها البعض؛ لکن طریقة استخدام هذه العناصر تختلف عن بعضها البعض. على سبیل المثال، استخدمت سناجلة ثلاثة أنواع من الصور، أی صورة متحرکة مع صوت، وصورة ثابتة مع صوت، وصورة ثابتة بدون صوت، بینما استخدمت لیلى صادقی النوع الثالث فقط، أی صورة ثابتة بدون صوت.

کلیدواژه‌ها [العربیة]

• روایة معاصرة
• العالم الالکترونی
• الروایة الرقمیة
• محمد سناجلة
• لیلى صادقی