خلاصة:
یکی از کشمکشهای درونی نویسندگان دور از وطن که در کنشهای متنی و زبانی آنان نیز تجلی پیدا میکند، تجربه «خودآگاهی مضاعف» آنان است. این کشمکش درونی با دیالکتیک بیرونی آنان در میل به هویتیابی با سرزمین مادری و یا سرزمین میزبان توازی دارد و به هویت زبانی آنان صورت و محتوا میبخشد. به عبارت دیگر، آنان گاهی خود را با سرزمین مادری و گاهی با سرزمین میزبان و گاهی نیز با هر دو هویتیابی میکنند. ما در مقاله حاضر نشان میدهیم که نویسندگان دور از وطن چگونه متون هیبریدی و لهجهدار تولید میکنند. این متنها را به دلیل اینکه دولایه هستند، متون پالیمسستی مینامیم و استدلال میکنیم که چندلایگی و هیبریدی بودن این متنها بر خودآگاهی مضاعف نویسندگان دور از وطن دلالت دارد. بر این اساس، دو متن انگلیسی«دید و بازدید» (2000) نوشتۀ تارا بهرامپور و «بازمزه در فارسی» نوشتۀ فیروزه جزایری دوما را که به ادبیات دور از وطن تعلق دارند و به سیاست هویتی سوژههای مهاجر پرداختهاند به عنوان پیکره تحقیق انتخاب کردیم و نشان دادیم که نویسندگان دور از وطن برای بازنمایی خودآگاهی مضاعف خود از چه سازوکارهای زبانی بهره میبرند. یافتههای این مطالعه نشان داد که رمزآمیزی، رمزگردانی، حرفنویسی، وامگیری فرهنگی و ترجمه فرهنگی از جمله کنشهای زبانی هستند که به متون نویسندگان دور از وطن خصلت پالیمسستی میبخشند و سیاست هویتی آنان را بازنمایی میکنند.
One of the inner struggles of diasporic writers, which is also manifested in their textual and linguistic practices, is their experience of "double consciousness." This internal conflict is parallel to their external dialectic in their desire to identify with their motherland or host country and gives form and content to their linguistic identity. In other words, they sometimes identify with their homeland, sometimes with the host, and sometimes with both. In this article, we show how diasporic writers produce hybrid and accented texts. Because they are two-layered, we call these texts palimpsest texts, arguing that the multi-layered and hybrid nature of these texts implies the double consciousness of diasporic writers. According to this, we selected two English texts, "To see and see again" (2000) by Tara Bahrampour and "Funny in Farsi" by Firoozeh Jazayeri Duma, which belong to diasporic literature and discusses the identity policy of immigrant writers, as the sample of the study. And we demonstrated what linguistic mechanisms diasporic writers use to represent their double consciousness. The findings of this study indicated that code-mixing, code-switching, calligraphy, cultural borrowing, and cultural translation are among the linguistic practices that give the texts of diasporic writers a palimpsest character and represent their identity politics.Example 1Wait, wait! She cries. “Get out and kiss the Quran” Baba laughs and pulls up the brake again.In this example, the immigrant author has translated the traditions and cultural elements of the (native) homeland into the language of the (other) host. "Kissing the Qur'an", "passing the traveler under the Qur'an" and "starting the journey" by mentioning "In the name of God, the Most Merciful, the Most Compassionate" are among the cultural elements of the immigrant motherland that have appeared in a foreign context.Example 2“Karej-jan, tell me” Baba’s cousin asks. “kodom bacheh ra beeshtar doost daree? Which child do you like better?In this example, the immigrant author has hybridized the linguistic elements of the motherland and the host country, creating a hybrid text, and immediately de hybridized them by bringing in their English translationExample 3Baba points to Mama and Sufi, who are looking at shop windows. “We have to go” he says. “Khaste Nabashid.” (p.141)As can be seen in the above example, hybrid texts emerge from the coexistence of "self" and "other", and this coexistence is not possible except through the use of translation. In fact, translation is inherently hybrid whether it is a cultural translation or linguistic translation.In the following section, some examples of hybrid texts extracted from the text of the novel "Funny in Farsi” are presented.Example 1My name, Firoozeh, means “Turquoise” in Persian. In America, it means “Unpronounceable” or “I’m not going to talk to you, because I can’t possibly learn your name”. (Dumas 2004:63)What is important to us is the result of this interaction with the culture of the host country, which has led to the emergence of a mixed personality. Firoozeh and her family are immigrants who form their identities in relation to one another. This constructed identity is fully reflected in the two concepts of name selection and marriage:Example 2In my next life, I’m applying to come back as a Swede. I assume that as a Swede, I will be a leggy blond. Should God get things confused and send me back as a Swede trapped in the body of a Middle Eastern woman, I’ll just pretend I’m French. (Dumas 2004. p.47)As mentioned earlier, these identities are in transition and always fluctuate between themselves and each other. For example, here, Firoozeh suffers from personality fragmentation due to being named differently and is constantly fluctuating between herself and the other, and finally she cannot tolerate this fragmentation situation and decides to return to her original identity: Example 3I decided to untangle the knot once and for all by my going back to my real name. (Dumas, 2004, p.66)Interestingly, he has already admitted that he is tired of the identity of his native land and that this internal conflict (conflict between himself and another) is constantly present in him:Example 4I tried my best to be a representative of my homeland, but I sometimes got tired of the questions. (Dumas2004. p.33)The issue of hybridization in Firoozeh’s marriage to Francois is well illustrated. Francois is a French-Greek citizen and marries an Iranian girl. At the wedding ceremony of these two immigrants from two different cultural backgrounds, American-Christian and Iranian-Islamic traditions, are both being done.Example 5The ceremony began with Francois and me sitting facing the mirror with everybody crowding around Sofreh-e-Agd. Uncle Abdullah began his speech in Persian, read passages from the Quran in Arabic then translated everything into English. (Dumas 2004, p.149)In another example, family and relatives celebrate Thanksgiving following Native Americans; but they completely change its nature, which is celebrated in thanking of the harvest of agricultural products, and give it an Iranian character:Example 6Every Thanksgiving, my family and I gather at my cousin Morteza’s house.[…] Aunt Fatimeh brings her baklava. All other relatives prepare their favorite Persian dishes [….].We give thanks for our lives here in America and for the good fortune of living close to one another. (Dumas2004, p.47)ConclusionIn this article, an attempt was made to examine two examples of fictional works of Iranian diaspora writers. The aim was to analyze the representation of the identity of Iranians living abroad in the narrative practice of Iranian writers living in the United States who write in the language of the host country. In the present article, textual evidence was presented following Bhaba’s third space theory. The selected examples clearly showed the process of translation of diaspora writers in their works.