Abstract:
جستار پیش‌رو می‌کوشد تا در چارچوب رویکرد نشانه ـ معناشناسی به تحلیل گفتمان ادبی به واکاوی ابعاد پدیداری معنا در داستان کوتاه «درخت گلابی» اثر گلی ترقی بپردازد. روش تحقیق توصیفی ـ تحلیلی است. درواقع نگارنده سعی دارد تا با تکیه بر گفتمان ادبی نویسنده و به شیوۀ تحلیل نشانه ـ معناشناختی و با تکیه بر حضور پدیداری سوژۀ داستان نشان دهد چگونه گفته‌پرداز ـ راوی مولفه‌های پدیداری را در بطن گفتمان می‌پروراند و فرایند تولید و دریافت معنا را تحت‌تاثیر قرار می‌دهد و در این میان گاه کنش روایی را به حاشیه می‌راند و گاه در راستای احیای آن قدم برمی‌دارد. هدف اصلی جستار پیش‌رو پاسخ‌گویی به پرسش‌های زیر است: 1. ابعاد پدیداری معنا تابع چه مولفه‌های گفتمانی و نشانه معنایی است و کارکرد آن‌ها چیست؟، 2. چگونه می‌توان جایگاه کنش را در کلیت نظام گفتمانی اثر حاضر تبیین کرد؟ بنابراین فرضیه‌های پژوهش حاضر از این قرارند: 1. ابعاد پدیداری معنا در گفتمان برونداد و تابع شوش، تنش و تطبیق است که دارای کارکرد زیبایی‌شناختی است؛ 2. برهم‌کنش این مولفه‌ها کنش روایی را از طریق برهم‌ریختن نظم و ایجاد آشفتگی در افعال موثر به حاشیه می‌راند و درادامه با ثبات نشانه ـ معنایی افعال وجهی و شکل‌گیری درونۀ عاطفی عشق بار دیگر کنش در مرکزیت میدان گفتمانی قرار می‌دهد. بی‌شک این تعاملات با سبک‌های حضور نشانه ـ معناشناختی پیوندی تنگاتنگ دارند.
The current research aims to investigate the phenomenological aspects of meaning in fictional discourse of “The pear tree” by Goli Taraghi- one of the writers of contemporary Persian literature. Research methodology is descriptive –analytical. In fact, the author seeks to explain the underlying interaction of semiotic components in this short story by relying on and investigating the phenomenal presence of enunciator in order to show how aesthetic function emerge in discourse and affect the process of meaning production and perception. To this end, the main objective of the present research is to explain the major attributes of phenomenological approach in literary discourse analysis and it’s semio-discursive components. The results showed that the phenomenological aspects of meaning are as a result of state, tension and adjustment as semiotic correlates of discourse which leads to the formation of aesthetic discourse. The interaction of these elements marginalizes narrative action through modal constituents’ turbulence and then stabilizes them by the emergence of thymic state of love which once again rehabilitates narrative action. Undoubtedly, these interactions are in constant relationship with semiotic modes of presence.
Introduction
"The Pear Tree", which is a short story from the collection of stories entirled “ another place” by Goli Targhee, depicts the life of a writer who took refuge in his father's garden in Damavand to write the rest of his new book after a long period of unemployment. But in the garden, the old pear tree, which is full of memories for him, has not borne fruit, and the gardeners ask him to participate in a ritual to scare the tree and bring it back, and he accepts, and in the meantime, he reviews his teenage memories. He pays, when he falls in love with his cousin "Mim" and despite the fact that the girl is older than him, he expresses his love to her, sings love poems to her and performs various plays with her in the garden for hours, because both of them are interested in literature. They are interested, but one day the girl comes to say goodbye because she plans to join his her father, who is abroad, and the narrator asks her to wait, and the girl accepts, but years later, when the writer gets involved in political affairs, he does not answer the girl's letters and leaves her as a historical figure. Then he is postponed until he is imprisoned due to his political activities, and there he receives the news of the girl's death after seeing one of her relatives. Returning from his memories to the present, he finds himself next to a pear tree, which according to the narrator, a teenager sitting on top of a pear tree stares at him and feels a strange closeness to the pear tree. It should be mentioned that Dariush Mehrjooi made a film with the same name based on the basis of this short story in 1376.
The main question of the present research is the analysis of the phenomenal dimensions of meaning in the literary discourse of Goli Targhi which depends on the stative regime of discourse and enunciator semiotic modes of presence which forms his lived experience.In order to investigate the semiotic components of discourse in this work and by relying on the phenomenological aspect of meaning , the author seeks to investigate these components. By analyzing the text and adopting a descriptive-analytical approach, the author also explained the place of discourse action and analyzed each one with the help of elements and textual evidence. Also, by examining these factors and in this direction, the writer has tried to answer the following questions:
Research Question(s)
1.what are the major phenomenal dimensions of meaning and what are their semio-discursive functions and components in this short story? 2. How is it possible to explain the place of action in the whole discourse system of this short story?
Therefore, the hypotheses of the present research are as follows: 1. Phenomenal dimensions of meaning in discourse correlate with state, tension and adjustment which has an aesthetic function; 2. The interaction of these components marginalizes the narrative action by disrupting the order and creating chaos in the modal verbs, and further, with the stability of the modal verbs the narrative action places once again at heart of the discourse field. Undoubtedly, these interactions have a close connection with the semiotic modes of presence.
Literature Review
In this section, the author intends to briefly present the studies carried out in the framework of semiotic approach to literary discourse analysis on Iranian fictional literature to examine the differences and commonalities of each of them with the present study. It should be mentioned that these studies have provided a rich background on the study of semiotic correlates with the artistic and literary discourse. Both theoretically and practically, it can go through (Shaeiri, 2002, 2006, 2007, 2009a, 2009b, 2012, 2013, 2014, & 2016), Abbasi (2001, 2010, 2011) and Babak Moin (2015) in a systematic way. In the short story entitled "Pear tree" selected from the collection of short stories "Another place", Goli Targhi the life of a writer who took refuge in his father's garden in Damavand to write the rest of his new book after a long period of unemployment. But in the garden, the old pear tree, which is full of memories for him, has not borne fruit, and the gardeners ask him to participate in a ritual to scare the tree and bring it back, and he accepts, and in the meantime, he reviews his teenage memories. He pays, when he falls in love with his cousin "Mim" and despite the fact that the girl is older than him, he expresses his love to her, sings love poems to her and performs various plays with her in the garden for hours, because both of them are interested in literature. They are interested, but one day the girl comes to say goodbye because she plans to join his her father, who is abroad, and the narrator asks her to wait, and the girl accepts, but years later, when the writer gets involved in political affairs, he does not answer the girl's letters and leaves her as a historical figure. Then he is postponed until he is imprisoned due to his political activities, and there he receives the news of the girl's death after seeing one of her relatives. Returning from his memories to the present, he finds himself next to a pear tree, which according to the narrator, a teenager sitting on top of a pear tree stares at him and feels a strange closeness to the pear tree. Given the theoretical potentialities of this approach in the analysis of literary texts, no research has been carried out on the concept and the semiotic mechanisms of Phenomenal aspects of discourse and semiotic modes of presence. Therefore, this study is the first attempt in this direction.
3. Methodology
In this research, the author has first investigated different types and correlates of phenomenola aspect of discourse under diverse semiotic titles. To this end and by benefiting from the descriptive –analytical research methodology, the textual data were extracted from the novel through a careful and close reading. Furthermore, all the requirements of theoretical framework were fulfilled in order to analyze and categorize different types of semiotic correlates in phenomenal reading of literary discourse.
4. Results and discussion
4-1:” Pear tree” : A discourse regime based on stative components of discourse with phenomenal and aesthetic function.
4-2: Investigating phenomenal aspect of “Pear tree”:Semiotic analysis and reading of concept of love.
4-3: Stative –tensive modes of presence in “pear tree”
Figure 1.
The tensive –stative figure of passage from despair to Nostalgia and love
Figure 2
Tensive-existential mode of presence in pear tree short story
6. Conclusion
Analyzing the phenomenal dimensions of meaning in Goli Targhi's literary discourse in the short story "The Pear Tree" is the result and subject of the stative regime of discourse and the modes of presence in literary discourse. In the present research, with the phenomenal reading of this short story and in other words, by using the important pillars of studies in semiotic approach to discourse it was observed that throughout this story, in fact, we are faced with stative components of discourse , which as a result of a sensory-perceptual activity in establishing and interacting with the surrounding world, in a way, creates a discourse with an aesthetic function, which was discussed in the course of the story under the title of crystallization of the concept of love for life. . Phenomenal dimensions of meaning in discourse in general and in this short story in particular are the output and subject to state, tension and adjustment, which has an aesthetic function. On the other hand, the interaction of these components marginalizes the narrative action by disrupting the order and creating chaos in modal verbs, narrative action places once again at the heart of literary discourse. Undoubtedly, these interactions have a close connection with the semiotic modes of presence.
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