هویت یابی زنان مهاجرِ نسل دوم افغانستانی تبار: تحلیل روایت جُستار «بی محتوابودن فرم افغانی ام به شدت آزارم می داد» (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دو مفهوم هویت و وطن به شکلی جدایی ناپذیر با یکدیگر درهم تنیده اند. بدون تردید، در ادبیات مهاجرت، ارتباط بین فردیت و سرزمین انکارناپذیر است. مهاجر دائماً در کشمکش میان سرزمین مادری/سرزمین بیگانه، خودی/دیگری و بودن/شدن قرار دارد و مسبب این سرگردانی، رسوخ وطن بر بازنمایی و بازساخت فردیت است. سرزمین مادری و زادگاه در ذهن فرد مهاجر تداعی کنندیه مفهومی از وطن و هویت هستند که باید در بررسی ادبیات مهاجرت به آن توجه ویژه ای شود؛ ازاین رو، این مطالعه با هدف فهم بازنمایی هویت زنانِ مهاجر نسل دوم افغانستانی با بهره مندی از مفهوم نظری هومی بابا، بیل اشکرافت، رابرت یانگ و ادوارد سعید انجام شده است تا بازنمایی هویت را در ژانر ادبی جُستار شناسایی و متناظر با بافت فرهنگی سرزمین مقصد و مبدأ تفسیر کند. برای نیل به این هدف، جُستار « بی محتوابودن فرم افغانی ام به شدت آزارم می داد » از مجموعه داستان های کوتاه «کورسرخی»، نوشتیه عالیه عطایی نویسندیه معاصر ایرانی-افغانستان تبار به عنوان نمونه انتخاب و با به خدمت گرفتن روش تحلیل روایت از «سیمور چتمن» در بخش های داستان، گفتمان و ایدئولوژی با الهام از تکنیک لیبلیج و همکاران تحلیل شد تا از زبان روایی و مواضع ایدئولوژیک آن در رابطه با بازنمایی هویت پرده برداری کند. یافته ها حاکی از آن هستند که مفهوم هویت به عنوان برساختی متصور در جُستار متناسب با گفتمان فرهنگی و سیاسی و موقعیت حاکم بر فضای جامعیه افغانستان و ایران دستخوش تغییر شده و در همین راستا شخصیت اصلی داستان نیز به نوعی هویت گریزی، هویت سرگردان و سپس بازگشت به هویت انکارشده را تجربه می کند. چنانچه اضطراب و آوارگی و استیصال ناشی از بحران هویت با صدای حاشیه ای و معترض نویسنده به وضع موجود و متن واقعیت های مسلط، بازتاب یافته است.Identification of Second-Generation Afghani Immigrant Women: A Narrative Analysis of the Nonfiction "The Meaninglessness of My Afghan Form Deeply Distressed Me"
IntroductionIdentity and its associated issues rank among the most significant topics of the past century. Exploration of identity can be traced alongside the history of human existence (Ghaffari-Nasab, Pouya, Ghasemi-Nejad, and Mosavat, 2018: 60; Ghorbani, Zarghani, and Azami, 2022: 7). Over the last four decades, from the Saur Revolution in 1979 to the present day, Afghanistan has experienced profound political and social turmoil, which has deeply affected the psyche of its people, particularly women. One of the detrimental consequences of this instability has been the marginalization of women from social and political spheres, resulting in the denial of their rights and, ultimately, their victimization in various forms (Mehravaran and Hossein-Ansari, 2022: 245; Hossein-Ansari, 2019: 17). This has significantly influenced many writers in the country. The life stories of numerous Afghan authors reveal that most have spent periods of their lives in exile, often across two or three countries (Mousavi and Hosseini, 2020: 402). Their lived experiences of these realities are vividly reflected in their stories and novels, particularly among Afghan female writers, who, from a uniquely feminine perspective, have delved into the concepts of "homeland" and "identity" in their works (Rafizadeh, 2018: 3). Consequently, the portrayal and significance of homeland and identity from the viewpoint of Afghan women can be discerned in their narratives, enabling a critique of social traditions that shape the concept of homeland (Afghanistan) through a careful examination of contemporary Afghan women's fiction and their worldviews. An essay, as a modern form of narrative literature, is grounded in reality (Moradi and Jamshidi, 2022: 160). It can be described as a brief text, often artistically constructed to convey the author's voice, allowing readers to perceive it as a genuine experience (Nordquist, 2020: 8; Moradi and Jamshidi, 2022: 160). "The Meaninglessness of My Afghan Form Deeply Distressed Me" is an essay from the Koorsorkhi’s collection, a story of soul and war written by Aliyeh Ataei and published by Cheshmeh Publication in Iran in 2020. This study presented the main character as an Iranian-Afghan woman, representing the second and third generations, who, due to the circumstances and choices made by their fathers and ancestors, either migrated to or were born in Iran. Focusing primarily on the narrator's lived experiences, the essay explored her monologues, beliefs, and sensory interpretations of life and the prevailing conditions in both Iran and Afghanistan. The narrator sought to illustrate her identity as an Iranian-Afghan woman shaped by the migration process and convey the complexities of identity that arose in these contexts. This study aimed to construct the concept of identity in contemporary Afghan fiction, specifically reflecting the experiences of second and third-generation Iranian-Afghan female immigrants within the essay genre. It interpreted their identities in relation to the cultural context of the host country, thereby shedding light on their identities as a new dimension in the exploration of immigrant issues. Materials & MethodsThe essay “The Meaninglessness of My Afghan Form Deeply Distressed Me” was selected for analysis using Seymour Chatman's narrative analysis method, which encompassed 3 sections: story, discourse, and ideology. Additionally, the essay was examined through the theoretical frameworks of Homi Bhabha, Bill Ashcroft, Robert Young, and Edward Said. This approach aimed to uncover the narrative language and ideological positions associated with the identity of Iranian-Afghan immigrant women. Discussion of Results & ConclusionBased on the analysis of character, action, and discourse, the narrative structure of this essay embodied two ideologies: the rejection of identity and the return to a denied identity. At the onset, the Afghan female writer exhibited behaviors and discourse that reflected self-denial of her Afghan identity to the extent that she expressed no desire to return to Afghanistan. Instead, she embraced her Iranian identity as her primary identity, effectively abandoning her homeland and integrating into the host culture, which she came to view as her home. Consequently, the concepts of migration and being a migrant lost their significance becoming defined as a hollow experience. However, during a trip to Afghanistan, her Afghan identity was rekindled through memories of her relatives' and compatriots' perseverance for their homeland. This experience placed her in an interstitial space between Afghan and Iranian identities, compelling her to confront challenging questions about homeland, migration, and identity. In this liminal space influenced by the pressures of both her culture of origin and the culture of her host country, she struggled to reconstruct her identity. Throughout this confrontation, the female writer described herself as confused, unstable, and disconnected from her sense of self. However, by the end of the narrative, following an attack by Iranian thugs on her and her documentary filmmaker friend, her feelings of distrust, insecurity, attachment, and fear evolved into a deeper empathy for her Afghan identity, her fellow immigrants, and her motherland. During this period, she experienced a sense of uprootedness having severed ties with her original land while finding it increasingly difficult—if not impossible—to establish roots in Iran. As a result, she found herself in a state of displacement. In contrast, the character of the Afghan female documentary filmmaker was portrayed as aware, committed, resilient, and patriotic toward her Afghan identity, actively defending it and standing firm against the challenges it entailed.Aliyeh Ataei, in the selected essay, narrated the experiences of second and third-generation Afghan immigrant women. Through her collection of essays, she effectively addressed the rights of immigrants, challenged xenophobia, and illustrated Afghan immigrants' perceptions of social distance from Iranians, along with the cultural conflicts and identity crises they faced. The narrative structure of this essay embodied two ideologies: identity rejection and the return to a denied identity. At the outset, the behavior and discourse of the Afghan female writer as the main character reflected self-denial of her Afghan identity. This representation of the immigrant woman's identity aligned with the theoretical framework of pluralism, which viewed the concepts of culture and homeland as fluid in a globalized world, emphasizing the necessity of relinquishing a sense of belonging to the motherland (Bourbour, 2017: 256; Nazari, Habibi, and Simoni, 2022: 19).However, during the protagonist's journey to Afghanistan, her Afghan identity was awakened as she recalled the resilience of her relatives and compatriots toward their homeland. This experience placed her in an interstitial space between Afghan and Iranian identities, compelling her to confront challenging questions about homeland, migration, and identity. The portrayal of the immigrant woman's identity in this section of the essay aligned with the theoretical approach of resistance, which advocated for the settlement approach. This perspective argued that rather than accepting homelessness and a lack of belonging, it was essential to recreate conditions that fostered a sense of belonging to one's homeland and facilitated the search for a new home (Bourbour, 2017: 262).On the contrary, the character of the Afghan female documentary filmmaker was portrayed as someone, who viewed the dream of return and loyalty to Afghanistan as central to her identity. She embodied patriotism, deeply cherishing Afghan culture and traditions. This representation of the immigrant woman's identity in the middle section of the essay aligned with the theoretical framework of resistance, where the notion of “hybrid culture” was seen as a theoretical construct rooted in idealism. Clear examples of the hardships faced by migrants illustrated that the hegemony of the host country’s power and the resulting sense of non-belonging among migrants remained a serious and undeniable social reality (Kalra et al., 2005, quoted by Bourbour, 2017: 269). This theory emphasized the importance of maintaining the desire to feel at home, to return to one’s roots, and to forge new connections with a place.However, by the end of the story, following an attack by Iranian thugs on the female writer and her documentary filmmaker friend, a sense of distrust, insecurity, alienation, and fear emerged. This situation intensified the main character’s empathy and concern for her Afghan identity, her fellow migrants, and her homeland. In this part of the essay, the female writer experienced both regret and a profound sense of rootlessness due to her severance from her homeland. At the same time, she found it challenging—if not impossible—to establish roots in Iran, leading her to perceive herself as displaced and homeless. This representation of the immigrant woman's identity in the final section of the essay resonated with Edward Said's theoretical perspective. He emphasized the importance of recognizing differences and understanding the complexities of the situations and environments that shaped them—an aspect often overlooked in the works of post-structuralist writers like Homi Bhabha. Among the complexities faced by migrants in the host society, the initial focus had to be on the extent to which their human and civil rights were respected. Subsequent attention had to then shift to the quality of hybrid culture formation and the dynamics of cultural interactions and exchanges.
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