گونه شناسی نظریه های ادبی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
رویکردهای نقد ادبی مدرن کنش هایی نظریه مدار، آن هم نظریه های بینارشته ای هستند. این نظریه ها و رویکردهای نقّادانه مبتنی بر آنها را می توان براساس معیارهایی گونه بندی کرد. در پژوهش پیش رو که به شیوه تحلیلی توصیفی و با هدف گردآوری و ارزیابی مدل های گونه بندی نظریه های ادبی فراهم آمده است، ابتدا «نقد دانشگاهی» از «نقد ژورنالیستی» بازشناسانده شد؛ سپس نشان داده شده است که تاکنون بنابر چه شاخص هایی نظریه های ادبی گونه بندی شده است و کدام یک از گونه ها از گونه های دیگر، کارآیی بیشتری دارد. یافته ها حکایت از آن دارد که در یکی از مدل های پیش گفته، گونه شناسی نظریه های ادبی بر این مبنا صورت گرفته است که این نظریه ها می خواهند به چه پرسش هایی پاسخ بدهند. الگوی پیشنهادی دیگری برای گونه شناسی نظریه های ادبی، الگوی ابرامز است که در آن، نظریه های ادبی بسته به اینکه معطوف به کدام یک از عواملِ «هنرمند»، «مخاطب»، «جهان» و «متن»اند، به چهار گونه «نظریه های محاکاتی»، «نظریه های پراگماتیک»، «نظریه های حالت نمایانه» و «نظریه های عینی» تقسیم پذیر هستند. چنین برمی آید که فعلاً کامل ترین الگو در این باره، الگوی یاکوبسن سلدن و ویدوسون باشد. در این الگو با کنار گذاشتن «مجرای ارتباطی»، پنج عامل در فرایند نقد می تواند دخالت داشته باشد و توجه حداکثری به هریک از این عوامل گونه ای از رویکردهای نقد ادبی را دیگر گونه ها بازمی شناساند: نقد ادبی نویسنده مدار (نقد ادبی رمانتیک و نقد روانشناختی)، نقد ادبی خواننده مدار (نقد پدیدارشناختی و نظریه دریافت)، نقد ادبی متن مدار (فرمالیسم روسی و نقد نو)، نقد ادبی موضوع مدار (نقد مارکسیستی و تاریخ گرایی نوین)، و نقد ادبی رمزگان مدار (ساختارگرایی و پساساختارگرایی).Typology of Literary Theories
Modern literary criticism approaches are theory-oriented actions. They mainly include interdisciplinary theories. The theories and critical approaches can be classified according to some criteria. This analytical-descriptive research aims to collect and evaluate the classification models of literary theories. At first, ‘academic criticism’ was re-identified from ‘journalistic criticism’. Then, it has been shown that according to which indicators literary theories have been classified so far, which of the types are from the other types, and which of the other species is more effective. The findings indicate that in one of the models, the typology of literary theories is based on what questions these theories aim to answer. Another proposed model for the typology of literary theories is Abrams' model. In this model, literary theories depend on four factors of artist, audience, world, and text. They are also divided into four types of simulation theories, pragmatic theories, statistical theories, and objective theories. The most complete model is Jacobsen-Selden and Widdowson's model. In this model, after removing the ‘communication channel’, five factors are effective in the process of literary criticism. The maximum attention to each of these factors differentiates a type of literary criticism approaches from other types: Author-centered literary criticism (romantic literary criticism and psychological criticism), reader-centered literary criticism (phenomenological criticism and perception theory), text-centered literary criticism (Russian formalism and new criticism), subject-centered literary criticism (criticism Marxist and modern historicism), and cryptographic literary criticism (structuralism and post-structuralism). Keywords: Modern Literary Criticism Approaches, Types of Literary Theory, Language Communication Model, Abrams, Selden and Widdowson. IntroductionIt is not surprising that the review of the history of the emergence and spread of modern literary criticism until its weakening is accompanied by the examination of the classification of literary theories and their differences from each other. We can probably believe that literary theorists have decided from the beginning to form their theories around specific axes and in connection with them; for example, Russian formalists in their literary theories focus on "Form" and "Defamiliarization" in stories and poems. There were also people like Marx and Freud who, although they were not literary theorists, with their theoretical achievements in the fields of sociology and psychology, inspired researchers and literary critics to design and implement Marxist and psychological theories. According to these explanations, the aim of this research is to examine and evaluate the models presented for the classification of modern literary theories. The basic questions of this research are:1) How are literary theories, as ideas and opinions that shape practical criticism, distinguished from each other?How imitative, innovative, and creative were those who have presented models for classifying literary theories? Materials and MethodsThe current research is written using the descriptive-analytical method. The sources used were library sources that after studying and dividing them into main and secondary sources, the necessary information was extracted from them and then analyzed. Research FindingsIn a general view, focusing on the terms "Lafz" (word) and "Mana" (meaning) in the background of Islamic-Iranian rhetoric and literary criticism, with the definitions of these two terms, there are two types of literary theories:Form-oriented theoriesContent-oriented theoriesThus, form-oriented theories are theories that pay attention to the aesthetic and formal features of literary works. On the other hand, in content-oriented theories, the content and meaning of the literary work are important and these theories analyze them. Based on one of the models of classification of literary theories presented by Jonathan Culler (1992, p. 204), depending on what questions literary theories aim to answer, they are more inclined towards one of these five topics: 1) defining the characteristics of literary texts, 2) aesthetics, 3) language and representation, 4) identity and ego, and 5) Politics and culture. So, we will have five types of literary theories. Abrams in his praiseworthy book Mirror and Lamp, written in 1953, enumerates four axes of criticism for criticizing arts: artist, audience, world, and text. According to his idea, in connection with these axes, four types of literary theories can be defined and recognized from each other:Mimetic Theories,Pragmatic Theories,Expressive Theories, andObjective Theories. < < CONTEXTWRITINGCODEREADER WRITER Discussion of Results and ConclusionsThe attachment of modern literary criticism to interdisciplinary theories has caused it to be known as theory-oriented criticism. Over time, the number and variety of such theories have increased, and the basis of their typology has been provided. First of all, it is necessary to differentiate between "academic literary criticism" and "journalistic literary criticism". Then we should pay attention to the investigation of the correctness and incorrectness of calling the literary criticism of previous periods "traditional criticism", in contrast to naming the common literary criticism in the 20th century as "modern criticism". Some approaches of modern literary criticism, after some time and especially after the emergence of post-structuralism, have become among the traditional approaches.After these explanations, with a general view, literary theories can be classified into "form-oriented theories" and "content-oriented theories". Jonathan Keller has divided literary theories into five types. Abrams has also presented another model for the typology of literary theories. Based on that, literary theories can be classified into four types. However, the most common typological model of literary theories is the model that was first designed by Raman Selden and Peter Widdowson, inspired by Roman Jacobsen's language communication model. In Jacobsen-Selden and Widdowson's model, literary theories are divided into five types according to their tendency towards each of the influential factors in the emergence of criticism:Romantic-humanistic theoriesReader-oriented and phenomenological theoriesMarxist theoriesFormalist theories and new criticismStructural theoriesThis model, along with details or in combination with the Abrams’ model, has also entered the books of some Iranian researchers. Safavi is the first person who brought this idea in his book Acquaintance with Linguistics in Persian Literature Studies (2011). He has claimed that this idea is basically his. As it was said, Selden and Widdowson are the main owners of this idea. The similarity of Safavi's speech and pattern with their speech and pattern shows that Safavi was familiar with Selden and Widdowson's book Guide to Contemporary Literary Theory, and borrowed this idea from there:So far, I have not seen a theory that has turned its attention towards the communication channel. Because apart from the performance of plays, the literary text is supposed to be a type of written text. In such a situation and with regard to the diagram (216), it is possible to obtain the diagram (217) based on my point of view, to show literary theories in terms of the factors creating communication [...] (Safavi, 2011, p. 480).These opinions are exactly the opinions of Selden and Widdowson. The diagrams that Safavi mentioned and another diagram that identifies the types of literary theory and which Safavi quoted in his book are exactly the same as Jacobsen's language communication model and two other models that Selden and Widdowson have already presented.
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