Abstract:
طنز از آنجا که از زبانی خاص به قصد انتقاد، اعتراض و التذاذ بهره می‌برد، نوعی گفتمان یا خرده‌گفتمان ادبی است. تحلیل گفتمان انتقادی، گرایشی از رشتۀ تحلیل گفتمان در مطالعات زبان‌شناختی است که به رابطۀ زبان، قدرت و ایدئولوژی در جامعه می‌پردازد. یکی از الگوهای معروف در تحلیل گفتمان، الگوی جامعه‌شناختی- معنایی ون لیوون است که تحلیل متون از سطح توصیفی به سطح تبیینی و توجیهی ارتقا می‌یابد و نیز رابطۀ میان جامعه، فرهنگ، قدرت، ایدئولوژی و... بازنمایانده می‌شود. گفتمان طنز در اشعار شاملو در حوزۀ مسائل اجتماعی، سیاسی، فلسفی دیده می‌شود و اثر وی را از منظر الگوی ون لیوون شایستۀ تحلیل می‌کند. این مقاله از منظر تحلیل گفتمان بر مبنای الگوی ون لیوون، طنز را در شعر شاملو دنبال می‌کند تا مشخص شود شاملو کارگزاران اجتماعی را به چه صورت نشان داده و با توجه به کارکرد انتقادی و اعتراضی طنز، چگونه گفتمان‌ها را با مؤلفه‌های جامعه‌شناختی- معنایی تولید و بازنمایی کرده است. مؤلفه‌های تحلیل انتقادی گفتمان در الگوی ون لیوون مبتنی بر دو عنصر صراحت و پوشیدگی است که خود زیرمجموعه‌های مختلف زبانی دارند. بر اساس نتایج این تحقیق، شاملو از مؤلفه‌های پوشیده در گفتمان طنز در اشعارش بیشتر استفاده کرده است. وی هویت کنشگران مربوط به قدرت، سلطه، فریب‌خوردگان و خائنان را حذف و کتمان کرده و همزمان با فعال‌نمایی و نام‌بری مستقیم از قدرتمندان گذشته بر فعالیت‌های آزادی‌خواهان و مبارزان تأکید کرده است. تناقض در بافت زبانی، عاطفی و اندیشه از مختصات گفتمان طنز در شعر شاملو است.
Satire is a kind of literary discourse or sub-discourse because it uses a specific language for the purpose of criticism, protest, and indulgence. Critical discourse analysis is a trend in the field of discourse analysis in linguistic studies that deals with the relationship between language, power, and ideology in society. One of the famous models in discourse analysis is Van Leeuwen's sociological-semantic model in which the analysis of texts is promoted from a descriptive level to an explanatory and justification level and also the relationship between society, culture, power, ideology, etc. is represented in Satire discourse in poems. Shamloo is seen in the field of social, political, and philosophical issues and analyzes his work from the perspective of a worthy Van Leeuwen's model. From the perspective of Van Leeuwen model of critical discourse analysis, this article follows Satire in Shamloo's poetry to determine how Shamloo portrays social agents and, given the critical function of Satire, how to produce and represent discourses with sociological-semantic components. The components of critical discourse analysis in Van Leeuwen's model are based on two elements of explicitness and obscurity, which themselves have different linguistic subsets. According to the results of this research, Shamloo has used the hidden components in the discourse of Satire in his poems more. He conceals the identities of activists related to power, domination, deceived people and traitors, and at the same time emphasizes the activities of freedom fighters and fighters at the same time as activism and direct reporting. Contradictions in linguistic, emotional, and thought contexts are among the characteristics of Satire discourse in poetry. Keywords: Satire, Ahmad Shamloo, New Poetry of Persian, Satire Discourse. Introduction In Persian literature, Ahmad Shamloo's name is tied to the form of white poetry, and he is one of the pioneers of satire in this branch of poetry. There is more humor in the deep structure of Shamaloo's poems, and usually, to find it, you have to remove different layers of the poem. The main principles of creating humor in Shamloo's works are his witty and self-evident nature, telling jokes, discovering contradictions and his humorous sentences, and language games and using different types of humor have made his poetry unique. Based on Van Leeuwen's theory, by analyzing the way of representation of social agents, we can understand the relations of power and domination and the hidden intentions of the discourse owners. No research has been done on the analysis of Van Leeuwen's critical discourse in Ahmed Shamloo's collection of poems and his satirical discourse. This article seeks to answer the following questions: - Which of the components of Van Leeuwen's model did Ahmed Shamloo use the most? - What effect have power relations and ideological processes had on the way of representing social agents and the level of openness and concealment of words in Shamaloo's poems? Literature Review Critical discourse analysis is one of the methods of discourse analysis and a new way of investigating social issues, which is related to literature through the analysis of literary texts and literary criticism. Critical discourse analysis tries to find the relationship between discourse-oriented components and structures with the type of influence and social function of those components. The use or non-use of discourse structures or their transformation and formal change causes multiple interpretations of the text. The structures and components of discourse are divided into two types: linguistic and sociological-semantic (Yarmohammadi, 2015: 65). 2.1. Van Leeuwen's discourse approach Van Leeuwen's model is one of the famous models of critical discourse analysis, which introduces and portrays social activists by addressing sociological-semantic components hidden in linguistic components. According to Van Leeuwen, the important elements of social behavior are: participants in social behavior or social actors, actions or activities in which participants are present and reactions that participants show to other participants or other actions (Van Leeuwen, 1993: 30). According to van Leeuwen, linguistic categories often do not coincide with sociological categories, while active and passive aspects are very important in a discourse; because they make the text better understood. In Van Leeuwen's model, social agents can be omitted or mentioned in the text depending on the author's intention and purpose; therefore, the components designed in Van Leeuwen's model are presented and explained under the two categories of hidden and explicit components. The components of explicit discourse are: activation, specification, differentiation, nomination, and situation. The components of hidden discourse are: exclusion, specification, passivization, abstraction, and categorization (Van Leeuwen, 1996: 110). Each of these components also has different subcategories. 2.2. Satire discourse Satire as a discourse covers a large part of literary works. Satire in Persian literature, in addition to being introduced as a genre or pseudo-genre of literature and tone, has also been defined as an independent discourse since the constitutional period until now (Ghazanfari, 2010: 56; Rashidi and Bagheri, 2015: 6; Shiri et al., 2017: 89). Language is the platform for the creation of Satire in literature, considering that the special use of language signs with a special position in a special context and structure causes the formation of discourse. Satire can also be seen as discourse from the point that it is the product of a specific stance of speech in an interactive flow between inside and outside language to create, change or develop a different meaning. In other words, Satire is sometimes something that is said and something else is understood. A poet or a writer pursues and expresses his intended discourse with words full of satire or mixed with satire, but this satire itself is also a type of discourse; it shows a critical and rebellious discourse with social or reforming purposes. In fact, satire is a discursive community of literature, which by rejecting the discourse of praise and highlighting the sign of criticism, shows itself beyond the literary discourse in the field of politics, society, and culture. Methodology One of the ways of qualitative analysis is to consider a theory or a framework in a particular model that has accepted principles. This research, in a descriptive-analytical way and by using library sources, has analyzed the critical discourse of humor in Shamlu's poems based on Van Leeuwen's sociological-semantic model. In this way, each of the components of this model of discourse analysis is described with evidence from Shamloo's poetry and the ways of representation of social activists. Results 1- Shamloo shows his opposition to tyranny and injustice in a hidden and sometimes obvious way, especially in the discourse of political and social satire in his poems. His poems are about various social issues and have a special emotional and ideological charge that the poet has expressed his ideology through the language of others by using components based on veiling. 2- In the analysis of the context of his speech, we can see all kinds of humorous methods, especially language games and paradoxes, because he can better blame the social agents he wants, especially the people, in this way. 3- Among the components of the explicit discourse in the analysis of the satirical discourse of Shamloo: activation, nomination(kress), and specification, and in the components of his hidden discourse: exclusion and concealment, passivization, indetermination, abstraction, categorization, and symbolization are seen. 4- Often, in one paragraph of his poem, a combination of explicit and hidden components or exclusion and inclusion according to Van Leeuwen's pattern can be seen. Most of the poems in which he used satirical speech have a political and social context and are dedicated to freedom seekers or victims and those killed in the struggle for freedom. 5-The results of this research show that concealment factors such as exclusion and concealment, indetermination, abstraction, categorization, etc., are frequent in Shamloo's poems. Also, according to the date of writing the poems, Ahmad Shamloo's criticisms between 1323 and 1348 are more intense and angry due to his membership in the Tudeh Party and his struggle with the existing class structure. The pillars of power and domination are also widely and openly the target of his criticism. After the coup d'etat of 1332, the tendency to cover up in Shamloo's satire increased. 6-The exclusion and concealment of the social agent due to Shamloo's hatred of the rulers and the abstraction in which the social agent can be represented in a non-human way by using attributes are prominent components of Shamloo's satirical discourse. He has made the satire of his words more obscure by using more indetermination factors, i.e. ambiguous pronouns and adjectives. He has hidden the identity of the activists related to power, domination, and deceived people and traitors, and at the same time, he has emphasized the activities of freedom seekers and fighters by directly naming the powerful people of the past. Due to the socialist tendency, Shamloo has also used the indetermination factor to represent the mass and the people more.
Machine summary:
بازنمايي کارگزاران اجتماعي در گفتمان طنز احمد شاملو بر اساس الگوي ون ليوون فاطمه تسليم جهرمي استاديار، گروه زبان و ادبيات فارسي، دانشگاه جهرم ، جهرم ، ايران چکيده طنز از آنجا که از زباني خاص به قصد انتقاد، اعتراض و التذاذ بهره ميبرد، نوعي گفتمان يا خرده گفتمان ادبي است .
اين مقاله از منظر تحليل گفتمان بر مبناي الگوي ون ليوون ، طنز را در شعر شاملو دنبال ميکند تا مشخص شود شاملو کارگزاران اجتماعي را به چه صورت نشان داده و با توجه به کارکرد انتقادي و اعتراضي طنز، چگونه گفتمان ها را با مؤلفه هاي جامعه شناختي- معنايي توليد و بازنمايي کرده است .
اين پژوهش ، به شيوة توصيفي- تحليلي و با استفاده از منابع کتابخانه اي، گفتمان انتقادي طنز را در اشعار شاملو براساس الگوي جامعه شناختي - معنايي ون ليوون تحليل کرده است ؛ به اين صورت که هر کدام از مؤلفه هاي اين الگوي تحليل گفتمان با شواهدي از شعر شاملو و شيوه هاي بازنمايي کنشگران اجتماعي شرح داده ميشود.
يکي از مثال هاي منفعل سازي در گفتمان طنز شاملو، شعر «حماسه » است که شاعر در برابر اين عنوان ، علامت تعجب به کار برده و خود بيانگر نظر وي در اين باره است .
. طبقه بندي کردن انواع کارگزاران اجتماعي در شعر شاملو و در گفتمان طنز وي به صورت منفي به کثرت ديده ميشود.
Descriptive Culture and Discourse Analysis and Applied Studies.
بازنمايي کارگزاران اجتماعي در گفتمان طنز احمد شاملو بر اساس الگوي ون ليوون .
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