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Naghi (sina) Jahandide Koodehi, Alireza Nikouei,
Volume 11, Issue 43 (12-2018)
Volume 11, Issue 43 (12-2018)
Abstract
Khayyamiyat as a discourse was gradually formed in the course of three decades (from the seventh to the ninth centuries) and was signified through local and historical landmarks. This discourse has been formed through a dialogical and dialectic construct. the Shariah- holders’ harsh reaction against the argument, inquiry, and metaphors of the famous quatrain “Tarkibe Tabaye” indicates that Khayyamiyat began with philosophical inquiries in the rising hegemony of theological discourse. The formation of the quatrain “Tarkib-e Pialeh” followed by “Tarkib-e Tabaye” (replacing Koozeh / Pialeh with Tabaye / Badan and Charkhe Koozehgari with Charkhe Falak) indicate a metaphorical movement that struggles to change philosophical-theological inquiries into aesthetic issues. With the inauguration of this groundbreaking metaphor, many quatrains were produced throughout centuries. With this perspective, it is also possible to differently analyze the issue of “wandering quatrains” and the search for “original quatrains” that are emerging discussions and the outcome of contemporary ideologies as well as modern man’s mind. In fact, the displaced quatrains as defense mechanism turn to discursive author by ignoring the work’s author, and they foretell the workings of signifiers in the two contending discourses. The present research tries to discuss the three centuries of discontinuities and evolutions in Khayyamiyat through tracing the course of the two quatrains “Tarkibe Tabaye and Tarkibe Pialeh” as a metaphorical movement and through a report of the encounter of the four groups of the Shariah- holders and theologians, historians, poets and editors, and anthologists of the quatrains with the two quatrains.
Hamidreza Shairi, Fateme Seyedebrahimi,
Volume 12, Issue 46 (10-2019)
Volume 12, Issue 46 (10-2019)
Abstract
Whenever the place and quality of life simultaneously cause formation of predicates created by transmission of one situation to the other, we face eco-semiotics. As the basic elements forming human’s ecology are place and quality related to the place, therefore each ecology can be known as the tranjective chain. Berque, calls this tranjective chain mesology. Ecology can be a process if we consider a situation relating to a pre-situation and also cooperating to the next situation. In this process each existentialism is ready to be transferred to a new existentialism in the case of being put in the tranjective chain. This process formation is based on the idea that no existence is independent of the other existence. The best achievement of this mesologic idea is the deletion of bipolar world. Each existence has the ability of transmission inside the place and movement to the other existence. That’s why considering the existed experiments shows the formation of predicated based on the figures and interactive situations that each existence is completed on the process of action based on discontinue that cause its completion and transmutation. Regarding the subject, existences are various and grow up gradually inside time and place which are capable of being transferred. Our main aim of this research is showing the quality of existence growth and our main approach on this paper is formed by concentrating on human semiotics and visibility of existence. Also we’ll try to render literal eco-semiotics theory based on Berque’s mesologic idea and tranjective chain.
Amir Hossein Zanjanbar,
Volume 14, Issue 53 (3-2021)
Volume 14, Issue 53 (3-2021)
Abstract
Abstract
One of the tricks of children's stories to objectify abstract relationships is employing the metaphor of "color". On the one hand, the metaphor of "color change" in the three stories of "Red: The Story of a Candle" (Hall, 2015), "The Day the Crayons Quit" (Daywalt, 2013), and "Purple Pencil" (Ghazaleh Bigdelou, 2012) refers to the "identity revolution" and on the other, the first two stories are American and the story of "Purple Pencil" is Iranian, so this article has selected the mentioned stories to compare the views of the two mentioned cultural discourses in terms of the meaning of "ideal identity". In this regard, it intends to answer three questions in a descriptive-analytical way, within the framework of Landowski semantic systems: How has ideal self been interpreted in each text, given that these three texts encourage the child to identify? How does each text invite the child to socialize? The hidden ideology in every text creates alienation and de-alienation, which institutions are related to subjectivity? From a cultural semiotic point of view, every text is a culture. The present study examines the paradigm of identification in children's stories. Since identity is a construct of discourse, it translates the ideology embedded in the identity-making discourse from the sphere of origin to the sphere of destination.
Introduction
J. Lotman designed the semio-sphere as the space of all the texts of a culture, being interconnected in such a sphere. Unlike constructivist semiotics, which considers culture to be a hypertextual element, cultural semiology considers culture to be an integral part of the text. According to Lotman, the semio-sphere is like a crystal in which each of the texts inside, as components, has the properties of the whole sphere. Therefore, by placing it within the semio-sphere, he did not only seek for the meaning of the text, but also attempts to reconstruct the semio-sphere.
Greimas divides semantic systems into two classic types: "programming" and "persuasion / manipulation". Landowski by passing over the dual system of Greimas believes in two semantic-interactive systems of "adjustment" and "accident".
Background
Landowski, in Reflective Society (1989) deals with the sign of social semantics and the role of the "other" in the formation of the meaning of "I", and in Khatari Interactions (2005), introduces his four systems. Moein, in Meaning as Lived Experience (2015), and The Lost Dimensions of Meaning in Classical Narrative Semiotics (2017), as well as in his articles, introduces Landowski to the Iranian semioticians. In Iran, semio-semantics research based on Landowski theory in the field of children's literature can be summarized in a study by Zanjanbar (2021).
Aims, significance, and questions
The theme of the three stories, The Day the Crayons Quit (Daywalt, 2013), Red: A Crayon’s Story (Hall, 2015) and Purple Pencil (Bigdellou, 2013) is “identity crisis”, and the main characters in all three are pencils. All three use the "color change" trick to portray the "identity revolution" of the protagonist. The first two stories are American and the story of "Purple Pencil" is Iranian. The aim of the present study is to compare the differences and similarities of the concept of "ideal self" in stories that have different cultural spheres. There is competition among Iranian publishers for the publication of books that receive international awards, regardless of the fact that the dominant discourses award these books due to ideological matters. The importance of this research is that it shows that although a skilled translator can change the language based on the target semio-sphere; but the theme of the story is the carrier of the ideology of the origin sphere.
The research questions are:
1. How has ideal self been interpreted in each text, given that these three texts encourage the child to identify?
2. How does each text invite the child to socialize?
3. The hidden ideology in every text creates alienation and de-alienation, which institutions related to subjectivity?
Research Methodology
The research method is analytical-descriptive and its approach is cultural semio-semantics. The theoretical foundations section introduces Landowski's four semantic systems and its related paradigms (subject, object, and modality verbs). In the analysis section, all three texts are read within the framework of Landowski semantic systems. Then, the signs (written signs and visual signs) that are the basis of the subject's identification are discovered in all three stories, and the signs of each text are compared with the signs of the other two texts, thus, the similarities and differences of the concept of ideal self should be discovered in these three texts, and the way of identifying the semio-sphere should be revealed in each of them.
Conclusion
Although all three works consider the flourishing identity to be dissident, hopeful and dynamic, they do not agree on all levels. According to "Purple Pencil" (Bigdellou, 2012), in Iranian and Eastern culture in general, the way out is based on the system of adaptation and the ideal self is based on the transcendence of the subject through pure love, family-centered, lasting relationships and life. This discourse severely undermines individuality, and strengthens marriage. It also ignores society by keeping silent. American culture recommends two types of dissent: one is for the inferior actor, and the other is for the superior actor. According to "Red: The Story of a Candle" (Hall, 2015), the dual subject is inferior, when it reaches a blossom that gives originality to self, not to its representation. This approach sees the way out, in the system of persuasion (self-persuasion), and believes in individualism, romantic incoherence, inviolability of privacy while cooperation, colloquialism and persuasion, temporary and not necessarily permanent relationships and coercion imposed by subjectivity. This discourse weakens the institutions of collective control (such as education, society, family, peer group), and empowers the individual. "The day the crayons stopped working" (Daywalt, 2013) sees the exit as an exploitation of the persuasion system. Hence, he considers the subordinate subject as an ideal when, as an actor within the system of persuasion, he considers the needs of the actors under his control. In other words, it has an identity such as politician, persuasive, flexible, community-oriented, free, expedient and creative. This discourse reinforces the institutions of social control (the pencil community, the education or teacher who gives a perfect grade, the police who dance), and in general, the discourse of power, but it knows flexibility.
References
Bigdlu. Q. (2013). Medād-e Banafsh. Tehran: E'lmi o Farhangi Publication. [in Persian].
Daywalt. D. (2016). Ruzi ke Medād Sh'amihā Dast az Kār Kashidand. Trans. Mahboubeh Najafkhani. Tehran: Z'Aferān Publication. [in Persian].
Hall. M. (2015). Red: A Crayon’s Story. New York: Greenwillow Books.
Landowski. E (1989). Reflective society (in French). Seuil.
Landowski. E (2005). Khatari interactions (in French). PULIM.
Moin, M. B. (2015). Meaning as lived experience (in Farsi). Sokhan.
Moin, M. B. (2017). The missing dimensions of meaning in classical narrative semiotics (in Farsi). Scientific and Cultural.
Zanjanbar, A.H. (2021). "Tatbiq-e Nezāmhā-ye Khandeh M'anāyi-e Adabiyāt-e Āmmeh va Adabiyāt-e Koudak az Manzare Neshāneh-Ma'nā-Shenāsi-e Farhangi". Farhang o Adabiyāt-e Āmmeh. No. 36 (Vol. 8). Pp. 65- 97. [in Persian].
Khalil Baygzade, لیلا Rahmatian,
Volume 16, Issue 61 (7-2023)
Volume 16, Issue 61 (7-2023)
Abstract
The signs that direct the discourse of a narrative to create a core action in the central core and to reproduce intelligent and program-oriented meanings constitute the pattern of Greimas’ action discourse in the context of the narrative. The preface of Persian classics reflects the author's feelings in creating the work. This essay has examined the narrator's reasons for creating the narrative by exploring the discourse in the process of creating the narrative and the reception of the verbal signs in the prefaces of the verses of Nizāmi Ganjavi ‘s Makhzan-ol-Asrār and Iskandernāme. This essay explained the manner of discourse action in the opening of these Masnavies using a descriptive-analytical approach to illustrate the composition of these poems based on Greimas’s discourse and relying on the study of the signs that refer to the conditions of the Nizāmi in the preface during the creation of the works. This study investigated the evolution of Nizmi's states using Greimas' action discourse theory and extracted and analyzed the pattern of action-value and action-prescriptive discourses in the central core of the preface of the ethical and didactic works of this narrative poet by extracting discourse signs.
Extended Abstract
Lithuanian narratologist A. J. Greimas has presented a coherent model of modern sign- semantics for the study of narrative, arguing that the recognition of literary texts is no longer based on structural analysis and recognition of sender and receiver, but that the process of meaning production in the text, from transmission to reception, is based on functional elements. The elements of meaning production in discourse are intelligent and program-oriented, ultimately leading to actions in narratives. Discursive studies emerged after structuralism and semiotics, and accordingly, the best literary field is the extraction of signs and reaching the sequence of meaning in the creation of narrative. The indirect discourse, the representation of the discourse of the other and the language of the other in the lyrical quotation marks have long been known in the discourse- novel form, as found in the earliest periods of theological culture.
Many of the works of the Iranian classical literature have the ability to narrate and extract discursive theories. Hakim Nizāmi Ganjavi composed his own systems when stylistic and linguistic changes began in relation to the previous style of Persian poetry. During this period in northwestern Iran, in the Azerbaijan region, a group of poets emerged whose style was new. They were able to renew the Persian poetry style. Nizāmi's works are in the depths of content creation, forms, characters, and the purpose of a unique morality. The elaborate presentation of human personhood, human emotions, happiness and sorrow, natural desires and aspirations have been discussed and analyzed in these works to the extent that it is intertwined with the social ideals of the poet and the exploration of the psychology of the spiritual world of mankind, concerns his experiences, turmoil and goals are in Nizāmi's poetry a philosophical and moral concept.
Action discourse is a narrative-based method in which action is motivated by an inductive, prescriptive or value motive; the actor does not act according to his own emotions or will and feeling, a relationship of command is dominant in this system and the expression of meaning is subject to predetermined goals. According to Greimas, in this kind of cognitive systems, the process governing the text in most of the story starts with a shortcoming and leads to a contract. This research analyzes the state of the Nizāmi spirit by extracting the forms of action in introducing of his moral works during the creation of each of these Masnavis, to show that Nizāmi wrote the Makhzan-ol-Asrār and Iskandarnāme by which factor or factors of action he wrote. This essay does not examine narratives, but addresses the premise of these systems. Introduction of a narrative reveals the subject in a discourse form and knowledge of the state of the spoken processor at processing time so that the reader with a better understanding of the utterances explores the models of dynamic linguistic production processes in the creation of the main narrative discourses. Nizāmi, in his composition, narrates the sequence of events in the lives of the heroes, but the introduction of each Masnavi includes the present poet. At the beginning of each system, he explains the reason for the creation. Therefore, the essay is not concerned with the personalities of the narrative of the systems, but rather explains the signs by examining the poet's state when he created the work, leading to the action of each work.
The writing of the Masnavis of the Makhzan-ol-Asrār and Iskandarnāme as the first and last Nizāmi’s masnavis has been done in twenty years and in different phases of the poet's soul. We begin with a young poet seeking to create a work to make his reputation known to the world of literature. Therefore, in composing an Ethical-philosophical Masnavi, he attempts to express human complexities and a functional-value discursive variant; and it depicts a prescriptive action in the introduction. Here, the poet is an activist working to achieve the object of value and willing to reward him for creating this action. So, the young man is looking for wealth and fame. Nizāmi writes his love masnavis after Makhzan-ol-Asrār. Composing each work creates a new perspective as well as insight into the poet's affairs. The poet, who has created human landscapes in his masnavis, considers himself in the need of composing a masnavi which, apart from attaching to the object of value, is for quantitative evaluations, in order to solve ontological crises with the aim of finding himself and reaching wisdom. The discourse of Sharaf-Nāmeh and Eghbal- Nāme from Iskandar-Nāme masnavi is an action-value discourse that motivates the poet to create an Ethical Masnavi in line with experiences Iskandar's rationalism shows that, though these experiences are legends attributed to Iskandar, they represent a wise recognition of the scholarly and ancient poet demonstrating the value of wisdom in the symbolic language of these masnavis.
Seyed Mohammad Hosseini-Maasoum, Hamid Reza Shairi, Marjan Akbari,
Volume 16, Issue 64 (12-2023)
Volume 16, Issue 64 (12-2023)
Abstract
Introduction:
Passing from classical structuralist narrative semiology with a text-centered view and deterministic meanings towards semiotics is a transition from action and program-centeredness towards interaction. In classical semiology, the stream of meaning is exclusively shaped through action and a predetermined program and toward gaining the value object. In fact, what is obtained is external to the actor and is the end that the actor intends to achieve. Therefore, it can be considered extrinsic and goal-oriented. Movement is also included in this regime because one place must be left and some stages must be passed so as to reach the place where the desired object is.
But with the turn of semantic studies towards phenomenology and the emergence of a new field called semiotics, we witness the introduction of new words such as "body", "perception" and "sensory-perceptual relationship" into meaning studies. In semiotics, meaning is formed by creating a sensory-perceptual relationship with the phenomena and is perceived through interaction with another person or co-subject. Such a meaning cannot be investigated only with semantic regimes of classical semiology, i.e. action and manipulation. Eric Landowsky’s introduction of the two complementary semantic regimes of adjustment and accident happened in line with this turn.
In the semantic regime of adjustment, a bilateral interaction is formed between related narrative factors as a consequence of a sensual affair. In fact, the two parties involved in the interaction feel each other and transmit this feeling to each other and sometimes to the entire narrative. In the regime of accident, which is based on luck and fortune, the interaction is realized by accident; the system is meaningless, and luck is shown in its purest form.
Method:
Linguistics provides scientific tools for the study of language and literature. Indeed, literature is a place for the manifestation of language in different forms and through the interaction of linguistics and literature, the discovery of meaning becomes possible. Therefore, re-examining ancient texts, trying to find patterns and semantic regimes, along with the use of linguistic theories facilitate the discovery of the meaning formation mechanisms.
As a classic work and a great example of an epic narrative, Ferdowsi’s Shahnameh has various micro-narratives that are the objective manifestation of this phenomenon. The formation of meaning in these micronarratives is the result of the integrated function of these four regimes. One of the most interesting of these micronarratives is the story of Zal and Rudabeh. The present research was carried out using a descriptive analytical method and samples were selected from all parts of the story.
The researchers first investigated the important and prominent parts of the story and then extracted the behaviors and reactions of the characters in the story when faced with the events. These reactions were analyzed based on Landowsky’s four semantic regimes. In this regard, the narrative was divided into three important periods in the life of the protagonist: Zal’s birth and isolation, taking him back from Simorgh (phoenix), and Zal’s love for Rudabeh. Then, the lines of the poem were anallyzed to identify the challenges and tensions of each period. The behavior of the main narrative characters against those challenges and tensions was reviewed in order to determine the degree of conformity of each performance with Landowsky's four semantic regimes. Since events in the story of Zal and Rudabeh contradict the wishes of the main actors, and because their thinking and action fail to solve these problems, the narrative stream pushes them towards adjustment and sometimes accident and thus becomes the solution to the challenge and tension.
In the present paper, an attempt is made to find manifestations of these four regimes in the behavior and reactions of the narrative characters. In more precise terms, the main problem of this research is to examine the degree of conformity of the narration and the interactions of the actors and the characters in the narrative Zal and Rudabeh with the fourfold semantic regimes proposed by Landowsky. In this research, we are trying to see which of Landowsky’s semantic regimes corresponds to the meaning-making process in Zal and Rudabeh narrative when the main characters or actors face challenges.
Results
Using semantic regimes is one of the methods of creating meaning in narratives. These semantic systems help the narrative actor to advance narrative goals and overcome challenges and tensions. In the story of Zal and Rudabeh, two challenging tensions in the course of the story encourage each of the characters to act and apply these semantic regimes. Some of the characters of the narrative follow a specific semantic regime at the beginning, but in the middle of the story, they tend to shift to other semantic regimes. Still, some others continue to adhere to a single semantic regime. What can be raised at the end of this research is that the characters reach a consensus in order to achieve the fruit of love, which happens against the general norms of society. In fact, the course of events in the narrative has proved the ineffectiveness of action and program and reveals the necessity of creating bilateral communication and interactions in order to solve the narrative challenges. In the end, the outcome of the events in this story is towards the interactions of the actors and reaching the fusion.
This merging takes place through the actions of the actors to interact with each other, i.e. Zal’s letter to his father, Sindokht’s visit to Sam, and Sam’s letter to Manouchehrshah. In the end, this chain of communication and interactions causes feelings and sensory connections to emerge in the form of consensus towards the acceptance of a forbidden love. This finding of the research can be considered a new achievement in the criticism and analysis of the narrative of Zal and Rudabeh.
One of the most interesting points in the analysis of such narratives is the change in the structure of the narrative and the movement from the classical narrative to the modern narrative (cf. Shairi, 2019. b). Therefore, this convergence is the result of the movement from the classical narration to the modern narration. The turning of the narrative is from mere programming towards interaction and creating a sensory relationship. The actors who, in the course of the narrative, were striving to obtain value or objects in the outside world, simultaneously reveal aspects and ways of living differently and looking differently through interaction and agreement with each other.
Keywords: semiotics, narrative, regimes of interaction & meaning, Eric Landowsky, Zal and Rudabe
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