نوع المستند : علمی ـ پژوهشی
المؤلفون
1 ماجستير اللغة العربية وآدابها ،جامعة إيلام، إیلام، إیران
2 أستاذ مشارك في قسم اللغة العربية وآدابها، جامعة إیلام، إیلام، إیران.
3 مدرس في اللغة العربية وآدابها، جامعة إيلام، إیلام، إیران.
4 أستاذ مساعد في قسم اللغة العربية وآدابها، جامعة إیلام، إیلام، إیران.
المستخلص
الكلمات الرئيسية
الموضوعات الرئيسية
عنوان المقالة [English]
المؤلفون [English]
Literary semiotics examines the role of linguistic signs in the creation of a literary work and reveals its semantic core by discovering the work's semantic structure. Charles Sanders Peirce is one of the pioneers of semiotics who, by presenting his three-dimensional model for signs, provides a precise critical method for analyzing literary works. In his view, signs arise from the interaction between the three components of representation, subject, and interpretation. Sinan Anton is an Iraqi poet whose peace and anti-war themes are among the most frequent poetic themes in his poems and uses linguistic signs in creating his themes. The present study attempts to express the formation of rhetorical signs related to peace and anti-war based on Peirce's semiotic theory and to analyze the role of the three components of signs in completing the concept of these signs. The findings of the study show that signs in Anton's poetry consist of the triangle of representation, subject, and interpretation and have three sub-signs within them. First, a qualitative sign that shows the nature of some visible events, and then it expands with a detailed sign and a description of the tense and war-torn atmosphere of Iraq and the practical experiences of Iraqis regarding bombing, destruction, fear, and insecurity, and its concept is completed with a general sign and the poet's attitude towards the category of war and peace.
Keywords: literary semiotics, rhetorical signs, Peirce's three-dimensional model, Sinan Antun, peace and avoiding war.
Introduction
Semiotics is a widely used science related to all human and non-human disciplines. Literature is one of the fields in which semiotic studies are frequently used. With the emergence of schools of semiotics, different theories were presented in this science, its framework expanded, and its field of application gradually extended to literary criticism. Peirce's theory and model of the three-dimensional sign is one of the most famous models widely used in studies of literary semiotics, where the sign is divided into three components: the actor, the subject, and the interpreter, and the concept of the sign consists of the semantic relationship between these semantic triangles. Sinan Antun is a creative Iraqi poet who creates his poetic themes by creating poetic images and with the help of linguistic signs. Avoiding war and peace, rejecting religious and ethnic extremism, unity and altruism are among the most frequently used poetic themes in his poems, and his poems are dominated by the tendency of compassion and the search for peace. The current study, in accordance with the three-dimensional model of the Peirce sign, attempts to explain the role of three components of the sign, i.e. the actor, the subject, and the interpreter, in constructing signs related to the concepts of peace and the denial of aggression in Sinan Antun’s poems and the expression of qualitative, partial, and general signs. Given the broad reflection of resistance literature in Sinan Antun's poems and the emphasis on peace, stability, and security in the Middle East, studying his poems from the perspective of semiotic criticism can provide audiences with undiscovered aspects of his thoughts and worldview.
Materials&Methods
Based on the descriptive and analytical method and according to Peirce's theory of semiotics, this research investigates the reflection of rhetorical signs in the poems of Sanan Anton and examines the role of literary arrays in creating these signs.
Dicussion&result
With the help of imagination in simile and through the arrangement of words in the context of the text, Sinan Antun creates a belt of meaning and poetic connotations and hides the meaning and significance in a tangled network of connotations in the deep layers of the text. The poet compares the redness of phosphorus to the red eyes of cats, compares the poet's peaceful soul to a flower in the field, compares the dead of war to the stars of the night sky, compares the skull of an unborn fetus to the flowers on a grave, compares the fingers of a soldier searching for a weapon to a question mark and a sickle, and gives a sensual picture of the mental concepts of peace. And avoid war. The three components of the similes used in Anton's poems, namely the likeness, the likeness, and the likeness, remind us of the three components of the sign in Peirce's point of view, which are the actor, the subject, and the interpretant. By giving life to inanimate objects or abstract matters, Anton produces new semantic combinations and by substituting the unreal meaning for the real meaning of words, he creates connotations and makes the expressions of his poetry open to interpretation.
Conclusion
According to Peirce's three-dimensional model, signs related to peace in Anton's poems are the result of the semantic connection between the triangle of actor, subject, and interpreter. The actor is the outer layer of the text and the explicit meaning that provides the sensory appearance of the sign, which is considered an entrance to the world of the text of Antoun’s poem. The audience reaches the inner layers of the text with the help of the visual and sensory appearance of the phenomena. The signs related to peace and the avoidance of war in Anton's poem consist of three sub-signs, which begin their movement according to the primacy category of qualitative situation and show the way in which certain visible events and phenomena occur, such as the reflection of the red light beam of a cat's eye at night, the image of a delicate desert flower and a butterfly sleeping on it, brilliance Countless stars in the darkness of the night, the way a skull is placed on the grave instead of a flower for condolence, the way a question mark and a sickle are shaped, how a predator salivates to eat food, how shrouds are woven for unborn children, the drawing of Noah's long and great storm, How to weave a knitted object, and demonstrate the quality of crushing objects with the hooves of giant animals.
الكلمات الرئيسية [English]
بررسی نشانه‌های بلاغی سازندۀ مفهوم صلح و جنگستیزی در شعر سنان انطون بر اساس الگوی سه‌وجهی نشانه پیرس
زینب بساطی[1]
مینا پیرزادنیا [2]
مسلم خزلی [3]
نعمت عزیزی [4]
چكيده
نشانه‌شناسی ادبی نقش نشانه‌های زبانی را در خلق اثر ادبی بررسی می‌کند و با کشف ساختار دلالتی اثر، هستۀ معنایی آن را نمایان می‌سازد. چارلز سندرس پیرس از پیشگامان نشانه‌شناسی است که با ارائۀ الگوی سه‌وجهی خود برای نشانه، شیوۀ نقدی دقیقی برای تحلیل آثار ادبی ارائه می‌دهد. نشانه در دیدگاه او از تعامل میان سه جزء بازنمون، موضوع و تفسیر پدید می‌آید. سنان انطون شاعر عراقی است که صلح و جنگستیزی از پربسامدترین مضمون‌های شعری در اشعار اوست و در خلق مضمون‌های خود از نشانه‌های زبانی استفاده می‌کند. پژوهش حاضر می‌کوشد با تکیه بر نظریۀ نشانه‌شناسی پیرس نحوۀ شکل‌گیری نشانه‌های بلاغی مربوط به صلح و جنگستیزی را بیان کند و نقش سه جزء نشانه را در تکمیل مفهوم این نشانه‌ها واکاوی کند. یافتههای پژوهش نشان می‌دهد که نشانه‌ها در شعر انطون از مثلث بازنمون، موضوع و تفسیر تشکیل شده و در درون خود سه نشانۀ فرعی دارند. نخست نشانه‌ای کیفی که چگونگی برخی رویدادهای مرئی را نشان می‌دهد و سپس با نشانه‌ای جزئی و توصیف فضای متشنج و جنگ‌زدۀ عراق و تجربه‌های عملی عراقی‌ها دربارۀ بمباران، ویرانی، ترس و ناامنی گسترش می‌یابد و مفهوم آن با نشانه‌ای کلّی و نگرش شاعر به مقولۀ جنگ و صلح تکمیل می‌شود.
کلیدواژه‌ها: نشانه‌شناسی ادبی، نشانه‌های بلاغی، الگوی سه‌وجهی پیرس، سنان انطون، صلح و جنگستیزی.
[1] کارشناسی ارشد زبان و ادبیات عربی، دانشگاه ایلام، ایلام، ایران. basati.zei@gmail.com
[2] دانشیار زبان و ادبیات عربی، دانشگاه ایلام، ایلام، ایران. (نویسندۀ مسئول) pirzadnia@gmail.com
[3] مدرس زبان و ادبیات عربی، دانشگاه ایلام، ایلام، ایران. Moslem_khezeli@yahoo.com
[4] استادیار زبان و ادبیات عربی، دانشگاه ایلام، ایلام، ایران. n.azizi@ilam.ac.ir
تاریخ دریافت: 21/4/1403، تاریخ پذیرش: 29/07/1403
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