نشانه شناسیِ پوشاک در شعر ابن حسام خوسفی با تکیه بر نظریه پی یر گیرو (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یکی از رویکردهای جدید تحلیل متون، نشانه شناسی اجتماعی است؛ بدین معنا که که پدیده های اجتماعی به خودی خود معنا نمی شوند بلکه در درون شبکه ای از معانی قرار دارند و دارای چارچوب های فرهنگی هستند. پی یر گیرو از نظریه پردازان مطرح نشانه شناسی اجتماعی، نشانه های اجتماعی را در دو نوعِ هویت و آداب معاشرت می داند. در پژوهش حاضر که با روش توصیفی – تحلیلی و با استفاده از منابع کتابخانه ای فراهم آمده است، نشانه شناسی فرهنگیِ پوشاک و لباس به عنوان یکی از بارزترین پدیده های فرهنگی- اجتماعی در شعر ابن حسام خوسفی، شاعر قرن نهم هجری، انجام شده است و در پی آن است که روشن سازد بازتاب پوشاک و لباس در شعر ابن حسام دارای چه لایه های ساختاری و معنایی است و چگونه با استفاده از نشانه شناسی می توان موقعیت اجتماعی، فرهنگی و اقتصادی جامعه ی قرن نُهم را شناخت؟ یافته های پژوهش نشان می دهد که لباس و پوشاک در شعر ابن حسام از گستره ی معنایی خاصی برخوردار است و شاعر به کارکردهای فردی و اجتماعی پوشش، توجه داشته است. در بخش فردی، پوشانندگی و نقش حفاظتی لباس مطرح است و در کارکردهای اجتماعی هر یک از انواع پوشاک، نشانه ای است که با قرارگرفتن در محور هم نشینی در کنار واژه های دیگر و در بافت متن، به شرایط اجتماعی (طبقه و جنسیت و شغل)، فرهنگی (آیین ها)، اقتصادی (سطح رفاه، پیشه های مربوط) و ... جامعه ی قرن نهم اشاره می کند. همچنین تنوع نام لباس ها از قبیل لباچه، دواج، الباق، شمله و بهره گیری ادبی از واژه ها و اصطلاحات حوزه ی پوشاک از نکات برجسته و قابل توجه در شعر ابن حسام خوسفی است.The Semiotics of Clothing in Ibn Husam Khusfi’s Poetry in Light of Pierre Guiraud’s Theory
IntroductionLiterary texts have always served as a fertile group for the reflection of signs. The semiotic analysis of texts helps to achieve a better understanding of them. Ibn Husam Khusfi is a prominent poet of the 9th century. His unique use of words and terms concerning clothing and garments, both in their literal and implied meanings and in creating literary imagery and themes, is worthy of research. Ibn-Husam portrays the social, cultural, economic, moral, and psychological conditions of his time through the semiotics of clothing in his poetry. Social semiotics, as a branch of semiotics, examines the role and function of signs within society. According to Pierre Guiraud, the French linguist (1912-1983), social signs are categorized under identity signs, etiquette signs, and the nature of social signs (Guiraud, p. 127). This study aims to address the following questions:Based on a social semiotics approach, how is clothing reflected in the poetry of Ibn-Husam?From a semiotic perspective, what social issues of the poet's era are revealed by examining clothing in Ibn-Husam’s poetry?Ibn-Husam’s poetry collection is the primary source for this research. Through an in-depth examination, words and terms concerning clothing were identified, counted and analyzed from the perspective of social semiotics. The subject of garments and clothing has long been discussed in Persian literature, such as The Dictionary of Muslim Garments by Dutch orientalist Reinhart Pieter Anne Dozy, Divan of Garments by Mahmoud Nezam Ghari, and the paper “The Semiotics of the Clothing System in Rumi’s Masnavi”. Research Methodology The present work is a descriptive-analytical study. For this purpose, Ibn Husam Khusfi’s poetry collection, which includes odes, ghazals, quatrains, tarkib-band (composite-tie), and numerous short pieces, was thoroughly studied. Terms and expressions concerning clothing and garments were extracted and noted. The data were then analyzed in light of Pierre Guiraud’s semiotic approach by consulting credible resources. Findings Ibn Husam Khusfi employs words and terms about clothing and attire in approximately 600 verses of his poetry collection. This is indicative of the two major functions of individual and social. The individual function of clothing refers to its protective role, while the social function reflects its role in signaling social status, emphasizing that clothing is a marker of an individual’s social position. “Therefore, it can be said that one of the functions of clothing is to indicate the type of class and social status of individuals, and this element still remains a symbol of class position or professional status of the one who wears it” (Giddens, 2014, p. 144). The use of clothing-related words as indicators of a person’s social class is notable in Ibn-Husam’s poetry. For instance, the Durra'ah (a type of robe) and Taylasān (a loose hooded garment) are described as garments worn by the Sufi class. Clothing also at times indicates an individual’s gender, as “religion is one of the factors that distinguish the type of clothing for men and women, imposing restrictions in terms of certain fabrics, styles, and even colors” (Javadi Yeganeh & Kashfi, 2007, p. 69). In Ibn-Husam’s poetry, among the various types of women’s clothing, the Chador (veil) appears most frequently. Additionally, some types of clothing serve ornamental purposes, such as wearing the Qabā (robe) on festive occasions like Eid. Certain garments have ritualistic significance and are worn during special ceremonies, such as the Ihram (pilgrimage attire) or mourning garments. Clothing can also reflect the economic status of the one who wears it, as determined by the fabric’s quality and material. Conclusion In Ibn Husam Khusfi’s poetry, clothing and attire are as significant cultural and social symbols. From a social semiotics perspective, the references to clothing in his poetry illustrate both its individual and social functions. The individual function relates to the protective role of clothing against heat and cold, while the social function includes various domains: clothing as an ornament, a symbol of social class, an indicator of gender and occupation, and a key element in ceremonial attire for weddings and mourning. Clothing also reflects the poet’s and society’s economic conditions and acts as a cultural marker in religious and national rituals. Clothing often becomes a symbol of the social dynamics of the time, with Ibn-Husam using it to refer to the class structure of his society. Certain garments were exclusive to specific groups, such as crowns for royalty, the Khirqa (the initiatory cloak) for Sufis and ascetics, and the Dastār (turban), ʿAmāma (turban), and Taylasān for scholars and jurists. The variety of attire was also gendered, with women wearing garments like the Meʿjar (head covering or scarf), Chador (veil), and Maqna (headdress), and men donning robes like the Qabā (a long coat). The ritualistic function of clothing, as a cultural element, appeared in the pilgrimage attire (Ihram), festive garments (Meʿjar in red), and mourning clothes (black). Additionally, clothing sometimes symbolizes economic concepts, with the fabric, design, and colors reflecting the economic status of different social classes. Ibn-Husam’s poetic use of clothing-related terms through similes, metaphors, and allusions enhances the aesthetic value of his poetry, making his work notable in this regard.
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