نوع مقاله : مقاله پژوهشی

نویسندگان

• فرهاد رجبی ¹
• زهرا مافی ²

¹ دانشیار، گروه زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی دانشگاه گیلان، رشت، ایران

² کارشناس ارشد، گروه زبان و ادبیات عربی، دانشکده ادبیات و علوم انسانی، دانشگاه گیلان، رشت، ایران.

چکیده

نشانه-معناشناسی، به عنوان یک دانش چه در مرحله خلق و چه برای خوانش یک متن از رویکردهای بسیار مهم علم زبانشناسی است و به کارگیری آن در متون شعر شاعرانی که اساسا از زبان رمز و نشانه برای ایفاد معانی خود بهره می­ گیرند، ضرورت دارد. در همین راستا بر آنیم با تکیه بر نشانة رنگ به خوانش تطبیقی شعر سهراب سپهری و سوزان علیوان بپردازیم و معانی برآمده از این نشانه­ ها را مورد بررسی قرار دهیم. سپهری و علیوان از جمله شاخص ­ترین چهره­هایی هستند که عناصر رنگ به طور بارز، در اندیشه شعری­شان متبلور است؛ این دو شاعر با بهره­ گیری از مفاهیمی که رنگ­ها القا می ­کنند، به ترسیم زندگی شخصی و اجتماعی در شعر پرداخته­ اند. یافتن دلالت­های معنایی و مناسبات درونی عنصر رنگ، درک ژرفای معانی آن­ها را آسان می ­کند. تجربه­های گاه مشابهی که در زندگی فردی و اجتماعی سپهری و علیوان رخ داده، حیات ادبی مشابهی را برایشان رقم زده است و موجب نزدیکی دلالت رنگ­ها و بسامد به کارگیری آن، در اشعارشان شده است. مطالعه نشانه- معناشناختی عنصر رنگ، نشان می­دهد که چگونه دو شاعر با استفاده از نشانه به تولید معانی پرداخته و از بافت­های موجود و شناخته شده فاصله گرفته ­اند. بر همین اساس نتیجه نوشته حاضر نشان می­دهد، عنصر رنگ به عنوان یک نشانه، نقش مؤثری در معنا آفرینی دارد که در بیشتر موارد از نظر بسامد وکارکرد مشترک است و البته گاهی هم به خاطر روحیات وتجربیات متفاوتشان، از یکدیگر متمایزند.

کلیدواژه‌ها

• رنگ
• سهراب سپهری
• سوزان علیوان
• شعر معاصر
• نشانه-معناشناسی

موضوعات

• ادبیات تطبیقی

عنوان مقاله [English]

Sign-semantic Analysis of Color in the Poetry of Sohrab Sepehri and Suzan Alivan

نویسندگان [English]

• Farhad Rajabi ¹
• Zahra Mafi ²

¹ Associate Professor of Arabic Language and Literature, Faculty of Literature and Humanities, University of Guilan, Rasht, Iran.

² Master of Arts in Arabic Language and Literature, Faculty of Literature and Humanities, University of Guilan, Rasht, Iran.

چکیده [English]

Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is essential in analyzing poetic texts, especially those by poets who primarily use symbolic language to convey their meanings. In this regard, we will conduct a comparative analysis of the poems of Sohrab Sepehri and Suzan Alivan, focusing on the symbolism of color and examining the meanings derived from these signs. Sepehri and Alivan are among the most prominent poets whose use of color is distinctly articulated in their poetic vision. Both poets depict personal and social life in their poetry by employing the concepts evoked by colors. The semiotic-semantic study of the color element reveals how two poets created meaning through the use of signs, distancing themselves from familiar and established textures. Exploring the semantic implications and internal relationships of the color element facilitates a deeper understanding of their intended meanings. The occasionally similar experiences in the personal and social lives of Sepehri and Alivan have shaped comparable literary paths for both poets, leading to similarities in the symbolism and frequent use of colors in their poetry. This article demonstrates that color, as a symbolic element, plays a significant role in creating meaning. In most cases, the frequency and function of colors are similar between the two poets; however, differences arise due to their distinct moods and experiences. 
Introduction:
Semiotics, as a field of knowledge applicable both in the creation and interpretation of texts, is one of the most important approaches in linguistics. Its application is especially essential in poetic texts, where poets primarily use symbolic language to convey their meanings. Every text has its own system of signs. Literary and artistic texts, which are identified based on their use of metaphorical systems, employ signs on a broader scale—both quantitatively and qualitatively. Among literary genres, poetry stands out as particularly distinctive in this regard. In this paper, we aim to conduct a comparative study of the poetry of two contemporary Persian and Arabic poet-painters by analyzing the semantic functions of signs and employing a descriptive-analytical method. Sepehri and Alivan have extensively used colors in their work. These two poet-painters primarily employ the symbolic concept of color in their poetry to guide their audience’s minds from the superficial meaning of the words to their deeper layers, revealing the secondary meanings hidden behind color-related terms. Examining this literary technique through the lens of semiotics and various discursive systems reveals how meaning is constructed in the poetry of these two poets. The presence of intellectual and philosophical commonalities in their thoughts, along with the social structures of Iranian and Lebanese societies, prompted an analysis of the use of color as an indicator shaped by their mentalities and spirits.
Method:
In the present research, which is descriptive-analytical and looks at the subject from the perspective of comparative research, painting and painting elements have generally been considered, and of course, color is also mentioned in part of the work, which in the first case is considered in a comparative manner between two poets and in the rest of the cases separately. In other cases, which basically deal with other poets, color has been examined as a semantic context and a subject of study in poetic works. The common focus of the works conducted is the examination of color as a semantic element in literary texts. In these studies, color—primarily serving a traditional and natural function—has been analyzed with this same perspective. The difference between this article and previous studies is notable in two respects: first, the case studies examine the poetry of two poets who are also painters, establishing a tangible and closer connection with color. Second, in the poetry of these poets, color transcends its superficial meaning and natural function to serve as a symbol expressing deeper, secondary meanings.
Results and Discussion:
Examining the function of colors in the poems of Sepehri and Alivan through a semiotic-semantic framework reveals numerous implicit connotations that form the semantic foundation of their poetry. Among the colors used in the divans of these two poets, black appears with high frequency. This color, the most frequent in Alivan's poetry and the second most frequent in Sohrab's, symbolizes the dominance of black. The disparity in frequency between black and the colors blue, yellow, and white—each appearing less often—reflects a sense of darkness and despair. This suggests a world where qualitative values are overshadowed by darkness and a focus on quantitative measures. The poetic worlds of the two poets are shaped by color and the concepts it evokes. However, Sohrab often imbues color with a romantic and perfectionist quality, while Alivan uses it to convey postmodern themes such as emptiness, anxiety, and chaos. The frequent use of black and white underscores this contrast.
Conclusion:
The relationship between color and sign is important to us because the human mind considers its relationship with other phenomena and events in the light of specific meanings. In other words, colors find meaning in the human mind beyond a chemical change or a sensory phenomenon; a meaning that is, of course, not unrelated to the tangible world. “Every color is a phenomenon, which is a code or metaphor for the light of its origin, and this meaning must be interpreted according to this manifestation.” Such an approach to color has a wide application in literary texts, and in particular in modern poetry, which has a closer connection with the semiotic system and codes. In addition, the interplay between the arts of painting and poetry and the acceptance of the well-known mentality that painting is silent poetry and poetry is vocal painting have long led us to witness the presence of painter-poets and painter-poets in the field of meaning and art due to the similarity of these two arts in the beautiful and creative recording of subjects. Of course, the effective function of the element of color in these genres is natural. Examining the position and meaning of color in the art of poetry can reveal the communicative position of great truths from language, literature, and society. As Mallarmé, the famous French Symbolist poet, in a French poem, matched color, fragrance, and natural sounds.
 

کلیدواژه‌ها [English]

• Contemporary
• Poetry color
• Sign-semantic
• Sohrab Sepehri
• Suzan Alivan

عنوان مقاله [العربیة]

التحلیل السیمیائی الدلالی للألوان فی شعر سهراب سبهری وسوزان علیوان

چکیده [العربیة]

إن علم السیمیائیات کمعرفة فی مرحلة الإبداع وقراءة النص، یعد من أهم المناهج فی علم اللغة، وتطبیقه فی النصوص الشعریة للشعراء الذین یستخدمون اللغة الرمزیة أساساً للتعبیر عن معانیهم أمر ضروری. لهذا السبب نعتزم الترکیز على دلالة اللون لإجراء قراءة مقارنة لشعر سهراب سبهری وسوزان علیوان، ودراسة المعانی المستمدة من هذه الدلائل. یُعدّ سبهری وعلیوان من أبرز الشعراء الذین عکست أفکارهم الشعریة بوضوح عناصر اللون؛ فقد صوّر الشاعران الحیاة الشخصیة والاجتماعیة فی شعرهما مستفیدین من المفاهیم التی تحملها الألوان. إن فهم الدلالات الدلالیة والعلاقات الداخلیة لعنصر اللون یُسهّل فهم عمق معانیه. وقد شکّلت التجارب المتشابهة أحیانًا، التی مرّ بها سبهری وعلیوان فی حیاتهما الشخصیة والاجتماعیة، حیاتهما الأدبیة المتشابهة، وأدّت إلى تقارب دلالات الألوان وتکرار استخدامها فی قصائدهما. تُظهر الدراسة السیمیائیة الدلالیة لعنصر اللون کیف استخدم الشاعران العلامات لإنتاج المعانی، وابتعدا عن السیاقات القائمة والمعروفة. وبناءً على ذلک، تُظهر نتائج هذه الدراسة أن لعنصر اللون، کعلامة، دورًا فعالًا فی خلق المعنى، وهو أمرٌ مشترکٌ فی أغلب الأحیان من حیث التکرار والوظیفة، وبالطبع، ما یختلفان لاختلاف أمزجتهما وتجاربهما.

کلیدواژه‌ها [العربیة]

• سهراب سبهری
• السیمیائیة
• سوزان علیوان
• الشعر المعاصر
• اللون