چکیده:
دانش‌های بشری در قرون اخیر، با روندی پرشتاب به‌سوی استقلال و تخصصی‌شدن پیش می‌روند. یکی از لوازم این استقلال، داشتن زبان و گفتمانی ویژه، نظام‌مند و زایاست. طبیعتاً نقد ادبی نیز دانشی تخصصی است که در پاسخ به این ضرورت، به وضع اصطلاحات گسترده روی آورده است؛ اما وابستگی آثار ادبی به زبان، عواطف و ذهنیات و توجه به تفاوت‌ها و ظرفیت‌های زبانی و فرهنگیِ منحصربه‌فرد هر ملت ایجاب می‌کند محققان برای شناخت و ارزیابی جامع آثار ادبی خود، گاهی به وضع اصطلاحات متناسب با آثار بومی خود بپردازند. در این پژوهش با تشریح ضرورت و اهمیت اصطلاح‌سازی در شکل‌گیری نقد ادبی بومی و نگاهی به اصول اصطلاح‌سازی علمی، به بررسی اصطلاحات پیشنهادی شفیعی کدکنی در نقد ادبی، از جنبه‌های گوناگون پرداخته‌ایم. نتیجة تحقیق نشان می‌دهد از آنجا که این اصطلاحات با تلفیق دانش‌های بومی قدیم و نظریات جدید ادبی و براساس ظرفیت‌های ساختاری و زیبایی‌شناختی زبان فارسی و نگاه نظام‌مند و الگوپذیر و رعایت تقریبی اصول کلی اصطلاح‌سازی علمی پدید آمده‌اند، تاحد بسیاری در گفتمان نقد ادبی معاصر تثبیت و فراگیر شده‌اند و ما را به شکل‌گیری نقد ادبی بومی امیدوار می‌کنند.
Abstract:Human knowledge is swiftly moving towards independence and specialization. One of the requirements of independence is having a special, systematic, and creative language and discourse. Literary criticism, as specialized knowledge, due to this necessity, turns upon the creation of new terms. However, the dependence of literary works on language, emotions, and mentalities, the differences, and the unique linguistic and cultural capacities of each nation require researchers to develop terms appropriate to their native works in order to understand and evaluate their literary works comprehensively. In the present study, by explaining the necessity of terminology in criticism and the scientific principles of terminology, we have examined the terms suggested by Shafii Kodkani in literary criticism from various aspects. The results of the research show that since these terms have emerged by combining classic native knowledge and new literary ideas and are made based on the structural and aesthetic capacities of the Persian language, they have been established and used widely in the discourse of literary criticism and give us hope for the formation of native literary criticism.IntroductionThe Persian language, like other languages, has characteristics that many literary techniques and devices of art are based on them. Therefore, criteria related to literary criticism should be formed in accordance with the aesthetics and poetics of this language to evaluate its special capabilities.During more than fifty years of research, investigation and authoring of numerous works, and theorizing and creating terms in the field of literary criticism, Shafi'i Kadkani has contributed significantly to the growth of native literary criticism. Many of Shafi's terms in literary criticism, looking at the new principles of criticism and literary theory, are based on the special structure of the Persian language. The terms are essential for the Persian language and literature. They free the literary researchers and “leave a deep vortex of repetition, interference, superficiality, ignorance and sometimes theorizing, and sometimes a feeling of false exclusion and a generalization about one's own heritage” (Fotoohi, 2016, p. 12). Materials and MethodsIn this qualitative research, we have tried to investigate the critical terms in Shafi'i's works and his ideas in Persian literature with a descriptive-analytical method and a comparative approach. ResultsIn this research, by carefully studying the works of Shafifu and extracting terms of literary criticism, we examined terms considering two components: 1) scientific foundations, and 2) the rhetoric of making terms. In Shafi'i's works, in a general view, the terms are based on the foundations of new linguistics, especially the theories of formalism. Besides, they have been influenced by the scientific foundations of other branches of human sciences such as sociology, psychology, and analytical philosophy. In addition, factors such as secularizing or making concepts conventional, providing precise definitions and explanations of each term, modeling and systematizing them, classifying some concepts, avoiding ideological bias, and paying attention to the text have also strengthened the scientific aspects of these terms.Apart from the above technical fields, Shafi'i's poetic style and artistic taste and its combination with a scientific view have led to the construction of terms that are mostly based on similes and metaphors or synesthesia that help both beauty and a clearer understanding of the meaning of the term. Two factors are the greatest strengths of these terms: 1) practicality and modeling, and 2) updating of old literary knowledge based on scientific foundations and new approaches of criticism, and also practical adaptations of new theories of criticism, especially formalistic, structuralism and hermeneutic criticism.Shafi'i terms can be placed in three categories. The first category includes innovative terms that are made largely based on individual ideation, analysis, and reasoning. These terms rely on a coherent theoretical system and numerous experimental and practical examples and evidence. Second, adapted terms that are generally derived from the important contemporary currents of literary criticism especially formalism, structuralism, sociology of literature, hermeneutics, as well as classical Persian and Arabic literary criticism, including the opinions and ideas of people such as Gorjani and Jahiz and to some extent critics of Indian style. The final category includes translated terms that are presented in his works.In the study of the construction of terms, it can be said that these terms are either a) taken from other fields of knowledge such as agriculture, folklore, and the fields of natural or technical sciences and or they are old and familiar terms that have been reconstructed in a new meaning. ConclusionShafi'i is one of the few contemporary theorists who contributes to the localization of literary criticism by creating a terminology system based on scientific methods and placing them in the discourse of Persian literary criticism. His terms are placed in three categories of invented, redefined, or adapted and translated terms. While trying to revive the neglected theories of old criticism and rhetoric, they are largely based on new scientific methods, especially linguistics, philosophy, and sociology of literature. Also, in their construction, eloquence and rhetoric have been applied simultaneously and the use of literary techniques such as similes and metaphors have given them more clarity, simplicity, and comprehensibility.Among other issues, the precise definition of terms, the presentation of numerous evidence and modeling, the observance of impartiality, and a purely literary view and applied classifications have made such terms more and more popular among experts. The importance of these terms more than anything is that since they are based on the study of Persian language works and mastering them, they fully adapt to the structure of the Persian language. In addition, they have been planned according to accurate measurement and transparent criteria in this field, so by collecting these terms, we can hope for the formation of native academic literary criticism in Iran.
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