خلاصة:
Depuis sa première apparition jusqu’à nos jours, la représentation littéraire de la ville iranienne a connu une évolution considérable. Elle s’éloigne de la conception traditionnelle polarisant la ville en utopie et dystopie et se penche sur une interprétation postmoderne considérant la ville comme un espace-temps polyphone. Dans ce sens, le devenir des espaces urbains est particulièrement important dans la mesure où il configure le devenir socioculturel de certains discours courants dans la société iranienne. A travers trois œuvres persanes, Tel qu’il était, Couleur de corbeau et Grande Route, qui présentent des exemples parlants de la convergence des devenirs spatio-temporel et socioculturel, nous nous proposons, dans la présente recherche, d’étudier la question de spatialisation des discours sociaux. Pour ce faire, nous adopterons la géocritique en tant que cadre méthodologique et nous tenterons de répondre à quelques questions fondamentales qui mettent en relief différents aspects de la problématique : En quel sens le corpus choisi propose-t-il une nouvelle interprétation de la dichotomie « centre-ville/périphérie » ? Comment la pluralité des espaces urbains peut-il traduire le positionnement social de différentes générations iraniennes ? Et enfin, comment la ville fictionnelle laisse-t-elle son impact sur la ville réelle et parvient-elle à déplacer les frontières imposées par la réalité sociale ?
از بدو ظهور تا به امروز، بازنمود ادبی شهر ایرانی دچار تحول گستردهای شده است. این بازنمود از مفهوم سنتی که شهر را به دو قطب ارمانشهر و پادارمانشهرتقسیم میکند فاصله گرفته و به تفسیری پسامدرن روی اورده که شهر را زمان-مکانی متکسر میانگارد. از این منظر، از ان جا که "شدن" فضاهای شهری، "شدن" اجتماعی-فرهنگی برخی از گفتمان های رایج در جامعهٴ ایرانی را متبلور میسازد، حايز اهمیت ویژهایست. بنابراین، از ورای سه اثر فارسی، همانطور که بود، رنگ کلاغ و شاهراه، که مثالهایی بارز از همگرایی "شدن" زمان-مکانی و اجتماعی-فرهنگی هستند، درپژوهش حاضر سعی داریم مسالهٴ فضایی سازی گفتمانهای اجتماعی را مورد مطالعه قرار دهیم. در این راستا از نقد جغرافیایی بعنوان کاربست نظری بهره خواهیم جست و درصدد انیم که به چند سوال بنیادین پاسخ گوییم که ابعاد مختلف مسالهٴ پژوهش را برجسته میسازند: چگونه اثار منتخب تعبیر جدیدی از دوگانهٴ "مرکز-حومه" ارايه میدهند؟ چگونه تکسر فضاهای شهری میتواند بر جهت گیری نسلهای مختلف جامعهٴ ایرانی دلالت کند؟ در نهایت، چگونه شهر داستانی میتواند بر شهر واقعی اثر بگذارد و مرزهای تحمیل شده توسط واقعیت اجتماعی را دستخوش تغییر و تحول سازد؟
Since the beginning of the 20th century, 14th century of the solar hegira, the city
and its representations have been particularly highlighted by Iranian authors. Indeed, Iranian literary
modernity coincides with the awareness of the city and the questioning of urban spaces. This shows that
the city and modernity are closely linked in Persian literature. From then on, the city began to proceed
with symbolism that problematized its status. For more than half a century, the city, particularly the
capital, was subject to a form of representational bipolarity because it was divided into utopia and
dystopia. This bipolar conception, however, had the defect of being too unequivocal in order to account
for the fluctuations of urban spaces and spatio-temporal plurality.
With the postmodern debate, the representation of the Iranian city has recognized a new boom. In fact,
as much as the postmodern has changed the perception of urban space-time, it has left its impact on its
literary representations. Marked by the idea of postmodern, the extreme-contemporary urban novel is a
novel where everything is thought and said in terms of space. More precisely, it takes into account the
spatio-temporal multiplicity of the city, and therefore its perceptual and ontological plurality. So, rather
than being a functional habitat, the postmodern city has an existential value and translates our way of
being. By representing Isfahan and Tehran, cultural and political capitals of Iran, our corpus, namely As
it was, Color of Raven and Great Road, highlight the spatio-temporal future of the city and urban spaces.
This obviously contributes to the socio-cultural future of the city in Iranian society. More specifically,
the main interest of the chosen corpus consists in the fact that it no longer proceeds from the
representational bipolarity which once divided the city into utopia and dystopia: these meet and are
constantly transformed and make the postmodern city a concept quite fluctuating and complex. In the
present study, by adopting the geocriticism, we propose to study this spatio-temporal becoming and the
way in which it symbolizes the becoming of social discourses through three generations. To do this, we
define the spatialization of social discourse as our main problem and we try to answer the following
questions in the three parts of this study: How is the "city center / periphery" dichotomy problematic?
How do the old and the young generation take a position in the urban space and how is space-time
arranged to translate their ideals and demands? How does the fictional city manage to blur the boundaries of the real city and reconstruct it? This study thus seeks to highlight the complexity of the concept of city, urban space and citizen in the postmodern era.
As for the methodological framework, the choice of geocriticism is justified by the fact that it is the child of the postmodern; that is, of a reflection that proclaims the heterogeneity and the coexistence of possibilities. This is why geocriticism largely questions the univocity of time and space which leads to the separation of time/history and space/geography. Indeed, geocriticism invites us to conceive space and time in their interaction because the era of the supremacy of time is already over in literary studies and it must be replaced by the concept of space. According to geocritical terminology, the ideal space is one that is located at the intersection of space, time and the subjectivity that experiences it. The subject is projected onto the fictional space-time; more precisely, it reflects a state of mind, its existential desires and needs and is surrounded by one or more individual and collective rhythms. The more a space-time is ontologically valid, the more it is current and therefore capable of being transformed into a possible alternative to reality, into another of its own referent. Thus, fiction guarantees spatio-temporal compossibility. Westphal defines “spatio-temporality”, “transgressivity” and “referentiality” as three major axes of geocritical analysis: the first studies different turns of the relationship between space and time; the second addresses the interaction between real and fictional space-time and establishes the conditions where the fictional universe goes beyond the real referent; and the third proposes to show how the fictional space-time redefines the real referent or how it transforms itself into a legitimized universe of reference. In the present study, we will analyze these three concepts through a few dichotomies namely "center-periphery", "utopian-dystopian", "past-present" and "monochrone-polychrone" in order to see how, at the time postmodern, they go beyond the contours that are already imposed on them by tradition.