وضعیت فضای حضور در برساخت هنری مؤلف-راوی غزلیات شمس (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در عرفان عاشقانه مسأله مواجهه با نظام نشانه ها و کنش نشانه ورزی به نحو خاصی موجب بازنمایی و سامان بخشی به دالِ کلان جهان وحدت یا وضعیت حضور گردیده است؛ به طوری که کارکرد ارجاعی و قراردادی زبان به غیاب درآورده می شود و نشانه ها کارکرد رمزی و لایه های معنایی عمیق تری می یابند. وجوه دلالی تمثیل ها و استعاره های برسازنده فضای حضور به جهان پیش از هبوط به مرحله پیشازبان بازمی گردد؛ بر همین اساس تجربه حضور در بعد زمان بر محور زمان زیسته تجربه کننده و شکستن زمان و در بعد مکان با روساختی متفاوت و گذر از مکانی کنشی و فیزیکی به فضایی در ساحت تجربه شهودی نمود می یابد. از میان نوشتارهای عرفانی غزل های مولوی از منظر نشانه شناسی تمثیل ها و استعاره های برسازنده فضای حضور یا وحدت متنوع و چند لایه است. سؤال اصلی این نوشتار این است که برساخت هنری مؤلف- راوی غزلیات شمس در بازنمایی فضای حضور در رمزگان زبانی-روایی متن غزلیات شمس چگونه سامان یافته است؟ روش تحقیق به شیوه توصیفی تحلیلی و متناسب با معرفت شناسی حاکم بر متن است. نتیجه نشان می دهد که مؤلف- راوی غزلیات شمس با روایت پردازی مبتنی بر حضور هر کدام از تمثیل ها و استعاره های خرد و کلان را با ذیل وجوهی از دال های حوزه های زیستی و معرفتی در جهت تبیین ماهیت فضای رازناک، ابهام آمیز، غیرشفاف، بلعنده، نامتعین، تفکیک ناپذیر، بیکران و منبسط جهان وحدت به کار گرفته استState of Presence Atmosphere in Artistic Reconstruction of Author-Narrator in Shams-e Tabrizi’s Sonnets
In love mysticism, the issue of encountering the systems of signs and the act of signifying in a special way has led to the representation and organization of the macro-sign of the world unity or the state of presence. That is the way that the referential and arbitrary function of language turns to be absent, and the signs acquire symbolic functions and deeper layers of meaning. The signifying aspects of allegories and metaphors reconstructing the atmosphere of presence in the world before the annihilation dates back to the pre-language stage. Based on this, the experience of presence in line with the experiencer's lived time, and the time split in the place dimension with a different structure and passing from an active and physical place comes out in atmosphere in the field of intuitive experience in a different surface structure, and passing over an actional and physical place. Among the mystic writings, Rumi’s sonnets, from semiotics’ perspective, are allegories and metaphors reconstructing presence atmosphere or diverse and multi-layered unity. The main question in this article is that how the artistic reconstruction of the author-narrator of Shams-e Tabrizi’s sonnets in representing the atmosphere of presence existent in the lingual-narrative codes of the text is organized? The research methodology is descriptive-analytical, and properly in line with the epistemology that governs the text. The result demonstrates that, through narrating based on the presence, the author-narrator of Shams-e Tabrizi’s sonnets has utilized each of the allegories and micro-macro metaphors with signifiers of biological and epistemological domains so as to explain the nature of the mysterious, ambiguous, opaque, devouring, indeterminate, inseparable, infinite and extended atmosphere of the unity world.Extended 1.Introduction Love mysticism, in line with mystical epistemology of states such as annihilation and union, unity and presence, represents the mystical status of presence. In Rumi’s mysticism, one of the key concepts is the problem of “presence”, and the atmosphere distribution is deeply related to the man and God relationship. In mystics’ view, due to the stream of descent, the subject has failed to be present in the pre-signification universe, and the regretfulness for the return with the initial unity has been institutionalized deeply in him. The initial existence and the existence before entering the universe of signs and symbolic systems were indeterminate. In mystical thoughts, like the mythological thoughts, the intuition and atmosphere are the basic factors. The atmosphere is in relation with the objective and lived experiences of Rumi. He sometimes makes us face the situations. And of course, being unable, he sometimes refuses to tell, and conceals some issues. Though the problem of presence is an ontological subject, it has got epistemological aspect in mystical texts. The unity space for any poet or author is illustrated by a thought device. Influenced by his religious, cultural and ideological backgrounds, Rumi seeks to represent the status of presences. Rumi exploits his signs in the form of codes that dominate his thought and language. This codes are interpreted in relation with another world. By the strategy of presences and the act of signifying and symbolic behavior, the narrator attempts to overcome the status of absence and lack. The discourse of “presence”, in the mystical texts and particularly the sonnets of Rumi, is the most significant. It is the strategy by which the narrator, symbolically and by signifying, attempts to exit from the absence and lack as the outcomes. This writing demonstrates the signs of presence, the significations as the outcome of presence, and the reception of the meaningful system in Shams Tabrizi’s sonnets.This research attempts to answer the following questions:How is the truth of presence space and unity in artistic reconstruction of author-narrator in Shams-e Tabrizi’s sonnets?What subjects and areas frame are the signs of space presence categorized in? How is the parallel reading of shared aspects of signifier and signified in allegory and metaphor-making? 2-Research methodology In this writing, the reconstruction of author-narrator in Shams-e Tabrizi’s sonnets in a descriptive-analytical manner is investigated and demonstrated for reading properly on the basis of the epistemology dominant in the text.3-Discussion Experiences of joining and discovery and mystical intuition are unrepeatable and inexpressible, and resist against expressing and revealing. The person encountering the experiences and such moments, tries to grasp it as much as possible and express it indirectly at least. Through creativity in the space of poem, the poet finds a great contribution in establishing a relationship with the audience, and through the atmosphere-providing passer-by, he can induce more emotion, transfer the lived experience and the poem coherence. This is one of the aesthetic criteria and rhetorical values of poetry. As the greatest mystical figure of Persian literature, Rumi has illustrated the atmosphere of presence depending on his intellectual device and religious and epistemological backgrounds. Through the linguistic complexities such as allegory, metaphor, metonymy and sarcasm, Rumi expresses his mystical states and truths. Atmosphere is related to Rumi's background and experiences. Comprehending the poetic world of words is the outcome of his lived experience and of what he has seen and heard and what he has not seen and heard. Encountering the hidden and unmanifest world and its inexpressible truths, Rumi tries to reveal and expose the atmosphere of presence by exploiting his mental and spiritual capacities which are the outcomes of his inner-self refinement, discovery and intuition, by his manner of expressing and his words’ miracle, and also by the phenomena of the material world. Sometimes he opens up situations to us, and of course, where he refrains from speaking, he also conceals things. Experiences of presence lack the temporal and atmospherical features, and cannot be described. While being streaming, diverse and plural, they have a unique language, and the mystic has gained knowledge about their beginning and completion. Rumi has managed the single world with diverse and multiple interpretations and themes. The phenomena of the material world and the natural world in connection with the poet's mentality find an allegory and counterpoint in what is beyond this world. In this way, novel similes and metaphors are created in depth and with deeper layers. He has not limited himself to the exterior nature, and the single and eternal topics have developed illusion, image, meaning and themes in his poetry. In Shams's sonnets, there is harmony and similarity with the images of Rumi as in water, sea and the sun; Rumi also values the heavenly signs the most. The function of allegory in Rumi’s poetry is mostly used to exit from the world of material, to remove its complications and multiplicity, access the higher worlds, and to draw the atmosphere of presence. Metaphor and metonymy are the devices through which we reach something beyond the apparent signified, and the limitation of meaning in the linguistic system ends up. The function of metaphor in Molavi's poetry makes the levels of signification and meaning-making expanded. In his poetry, the phenomena are taken as metaphors that are beyond their objective and experimental scope, and give more dominance to the presence of the spiritual realm in the sonnet.4-ConclusionThe epistemology known as love mysticism in Shams-e Tabrizi’s sonnets has been formed based on the key concept or the macro-signifier of "presence". Presence enables the subject to exit from the closed state of being present in the material world and the running and everyday system, and to experience another world beyond the time and space in the field of lived experience. While considering the space equal to special situations that are attributed to, or describe the certain characters ranging from fairies to prophets, the artistic signifiers reconstructed by the author-narrator of Shams-e Tabrizi’s lyrical poems about the experience of presence gives the audience-experiencer the opportunity to encounter special times and places, in which the space for comprehending him becomes expandable and enables it to be continuous: the desert, sea, orchard, flower garden, roof, revel, and wedding symbolically causes the extension and expansion of the space, ascendancy signifier, and the greatness of the monstrous world. And spring, night, Eid, Nowruz, Hashr (Resurrection Day) and doomsday appear somehow in the form of a metamorphosis, revived life the emergence of the unseen world, and the return to the world of unity in the audience-experience phenomenon. Of course, these phenomena persist in other ways: as the act of hiding in a cave, a well, a shack, a tent, a hidden treasure, a candle in a basin signify the hiddeness of the truth and the depth and width of the universe and the monstrous world, the fairy, dust, and clouds are also the signifiers of the mysterious and ambiguous atmosphere of the presence and inaccessible atmosphere of the other. These experiences- emerging in the text and sensational-perceptual processes of the audience-experiencer and sensational actions aligned with them— contribute to the persistence and promotion of the presence atmosphere in the places created by the subjects such as apple orchard, Yemen and the desert. Hence, narrating based on the representation of the presence atmosphere, the author-narrator of Shams-e Tabrizi’s lyric poems has utilized each of these allegories and micro-macro metaphors to elaborately explain the mysterious, ambiguous, unclear, infinite, inseparable, indeterminate, streaming and devouring atmosphere of the world. The space that has no relationship with the individualized world and full of boundaries and anxiety arising from it. Such an atmosphere has nothing to do with the world which is distinguished, demarcated and stressed as its outcome.5.References <em>Holy Quran</em> Ahmadi, B.( 2005). <em>The text Structure and textural interpretation</em>. Tehran: Markaz. Agamben, G. (2011). <em>Infancy and history the destruction of experience: About the Destruction of Experience</em>, translated by Pooya Imani, Tehran: Markaz. 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