خلاصة:
تلقی کریستوا از زبان، جسم و سوژه باعث شد وی جایگاه مهمی را در مطالعات ادبی، زبان‌شناسی و روانکاوی پیدا کند. وی با برداشت‌های خود از ذهنیّت و زبان، نگرشِ جدیدی از نشانه، معنا و معنازایی را در بطن سوژه و فرهنگ مطرح ساخت. کریستوا نشان داد که با در نظر گرفتن تاریخ و خودِ سوژه در دگرگونی‌های معنایی جهان، زبان صرفاً نمی‌تواند نظام نشانه‌ایی سوسوری باشد بلکه فراتر از آن به یک نظام پویای دلالتی مرتبط است که سوژه ناطق را در بطن میل درونی، صورتهای ذهنیتی و قلمرو ناخودآگاه نشان می‌دهد. کریستوا پردازش ساختار «زبان» و سوژه را وابسته به دو ساحت نشانه‌ایی و نمادین (سمبولیک) می‌داند که در بستر فرآیند معنازایی(signifiance) خودنمایی می‌کنند. در این مقاله تلاش بر این است به بررسی لایه‌ها و ساختارهایِ معنایی در رُمان خانه اِدریسی‌ها نوشته غزاله علیزاده، نویسنده معاصر ایرانی بپردازیم، سپس به کمک آراء ژولیا کریستوا نمود و قلمرو این دو ساحت «نشانه و نمادین» را که به تولید «معنا» و پویاییِ آن در بستر اَشکال زبانی و نظام درونی روایت منجر می‌شود، نشان دهیم.
In the story of the Edrissis' House, social perceptions and habits, apart from being able to form a historical study, depict social causes and reflect the author's mentality and social situation. The main points of the story are wandering characters who are immersed in the foggy and bitter memories of their past as if reviewing these memories is sweet or very annoying and painful for them. Mrs. Edrisi, the owner of the ancestral home (Edrissis' House), is still stunned by the fantasy of her youth and her love for the fire brigade. In this story, spatial, temporal, and narrative themes are the tools to describe realistic and critical structures. After the Bolshevik and workers' revolutions, Mrs. Edrisi, a member of the aristocracy, has witnessed profound changes in the urban situation amid popular discontent. The narration in this story is an excuse to describe and explain the linguistic structures and meanings that lie on the one hand and social realities and political conflicts on the other. In the context of Edrissis' House, "meaning" plays out the form and content of the narrative, to remove the potential of Alizadeh's language from the linear barrier and to define the subject in the heart of a dynamic and out-of-structure process. Therefore, to clarify the game of narration from the perspective of semiotics in this story, the position of the sign and its structure must be identified to some extent. For poststructuralists, language systems, events, and events are formed over time. Kristeva, a Bulgarian psychoanalyst, linguist, and poststructuralist philosopher, reviewed her linguistic structures by writing her first book, and investigated the Semantic features , emphasizing literary and poetic texts in historical and social contexts. She showed the dynamics of sing by which processes change themselves. Chora is a symbol of Kristeva's energy, dynamism, and vibrancy, her inner drive, and signifier of language. Thus, the identification of linguistic cues for Kristeva is "the study of the mechanisms of production, transmission, and reception of meaning". In this article, we will try to answer questions about the analysis of symbolic structures and sign language in the novel of the Edrissis' House and pave the way to research in similar contexts. Although we see the presence of both realms in the story, it is a symbolic realm that deeply affects "meaning" in Alizadeh's view. As mentioned above , the destruction of the linear course of the narrative in the story, affects the linguistic structure of Alizadeh and shows the linguistic reality before the author's consciousness.
The novel Edrissis' House, always depicts a few unfinished and wandering stories, the realistic appearance of which contains analytical and obscure signs of the past. This is the realm of signs that leads the nests and the amalgam to the language. In other words, this emotional and fragmented dimension of language is fluctuating, it requires identity and signification for itself, and it puts the subject's consciousness in suspense, so that the meaning is not of the material and conscious type, but based on the inner motivation and drive of production. Thus, the unveiling of emotional and emotional structures and the penetration into the inner layers of motivational language, a reflection of the field. It is a language that has been suppressed and needs to return. Alizadeh prioritizes the nature of language and re-represents its nature to provide the reader with the conditions for understanding and recognizing it. In fact, Alizadeh shares her experiences in the context of narrative and social contexts - which also include language itself. Retrieves - gives meaning and, by searching for intra-cultural links, shows semio-semantic functions for textual structures. Thus, in semiotic analysis of Alizadeh's text, the signifiers lose their order and become dynamic and irregular to evoke the return of the blind or the "command of oppression." Hence, the suppression of female mental beauty shows the focus and symbolic structure of Alizadeh's language. This process itself becomes the originator of language. A language keeps emotions stored and registered in the subconscious layers of meaning. A language in which the interaction with the environment takes the form of unconscious reactions. In the story of the Edrissis' House, Alizadeh, amid its sharp and biting realism, is deeply influenced by the field of symbolism, because the symbols transform its subjects. The emotional burden of the narrative language becomes more and more imposed on readers.
The novel of Edrissis' House is the story of the Tsarist Russian Bolshevik Revolution, which illustrates these two linguistic areas well. And the position of Alizadeh's heroes is manifested not only in language but also in physical motivations. In this story, the environmental space of the Edrissis' House represents the symbolic space of language, which dominates the ample space and profoundly influences the process of signification. In fact, according to Alizadeh, language as a social act necessarily has these two tendencies of symbolism and semiotics because these two linguistic domains produce meaning. Therefore, according to Alizadeh, this matter and the feminine (symbolic) domain is the reproductive text that forms the masculine (symbolic and lawful) matter of the apparent text and precedes the cultural, social and historical rules. The subject of Alizadeh, inspired by her feelings and energy in the heart of nature and the unconscious, creates a system of signification and discourse. Overall, the linguistic signs in this story are unstable, repressed, spontaneous, and emotional. This rupture reproduces the symbolism of "meaning" and, according to Kristeva, is revolutionary in the realm of signification and semantics. Hence, language and subjectivity are intertwined for Alizadeh’s point of view. For this reason, the realm of symbolism is the style and representation of unwanted signification.
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