كليدواژه :
كمال خجندي , گسست و پيوست , شَوِشي , گفتمان , شناختي
چكيده فارسي :
كمال خجندي، شاعر شيرين‌‌سخن سبك عراقي و يكي از درخشان‌‌ترين چهره‌‌هاي غزلي شعر فارسي است. يكي از گونه‌‌هاي گفتماني كه در غزلهاي كمال كاربرد گسترده‌‌اي دارد، گفتمان شناختي است. در گفتمان شناختي، فرايند كنشي در تعامل با فرايند شَوِشي ايفاي نقش ميكند و به‌همين‌دليل، شناخت به‌گونه‌‌اي باز، متكثر و پويا تبديل مي‌‌شود. يكي از مباحثي كه در گفتمان شناختي مطرح مي‌‌شود، گسست و پيوست گفتماني است. در فرايند گسست و پيوست، منِ شناختي كنشگر با منِ پديداري و استعلايي او مرتبط مي‌‌شود؛ حالِ زماني در ارتباط با نه‌‌حال زماني و مكان گفته‌‌پردازي در ارتباط با نه‌‌مكان گفته‌‌اي قرار مي‌‌گيرد. در مقالۀ حاضر، با روش توصيفي- تحليلي، گفتمان شناختي و فرايند گسست و پيوست گفتماني در غزلهاي كمال خجندي مورد بررسي و تحليل قرار مي‌‌گيرد. پرسش اصلي پژوهش اين است كه فرايند گسست و پيوست گفتماني چگونه در غزل كمال تحقق پيدا ميكند و از اين طريق چه معنايي توليد مي‌‌شود. در فرايند گسست و پيوست در غزل كمال، شاهد تعامل دوسويۀ فضاي گفته‌‌پردازي و فضاي گفته‌‌اي، يا دنياي گفته‌‌پرداز و گفته‌‌خوان هستيم. با وجود اين، ساختار غالب گفتمان از آنِ گسست است و پيوست‌‌‌هاي گفتماني نيز در خدمت گسست گفتماني قرار مي‌‌گيرند.
چكيده لاتين :
Kamal Khojandi is a mellifluous poet of Iraqi styl. He is a those greatest characters of Persian sonnet. One type of disputation which is used widely in sonnets of Kamal is called discourse. Acting process plays a role in discourse when it interacts with Shaveshi process and accordingly recognition turns to be clear and dynamic then it forms a new disputatious system. One of the issues which is discussed in discourse, acting and Shaveshi processes the disputatious disjunction and conjunction. In the process, the acting cognitive ego connects with emergence and transcendental ego; Time now and connects with non Time now and place of discourse is connected with anti-discourse place. This research uses descriptive-analytic method in order to study disputation and disjunction and conjunction disputatious process in sonnets of Kamal. The main question is that, how disjunction and conjunction disputatious process is proven in the sonnets of Kamal and how its meaning is produced. In the process, there is a reciprocal interaction between discourse environment and speech environment or between discourse world and speech processor. Still, the basic structure of disputation is connected to disjunction and disputatious conjunctions is also at the service of disputatious disjunctions.
2. Research methodology
The semiotics pattern of discourse is one of the appropriate methods for analyzing literary works that are effective in identifying internal occasions, discursive spaces, and narrative and content chains. The method of this research is descriptive-analytic with a semiotic approach and library information collection method. In the present study, selected samples of Kamal Ghazals are examined using the method of semiotic analysis and content analysis method.
3. Discussion
An enunciative and discursive method is considered as one of the most important methods of semiotic-semantic analysis. In a given system, meaning occurs when a semantic change is created and a semantic change is unthinkable without a viable program that leads to the operation itself. This causes the process of production of meaning to be a productive process. But in the discursive system, the production of meaning is no longer a function of a particular program or operation; meaning can occur phenomenally whenever and wherever it occurs (Shairi, 2009: 116). Due to these features, in the given system meaning has a stabilized state and in a discursive system, meaning becomes fluid and dynamic. The meaning of fluid is also a meaning that has emotional and sensory-perceptual characteristics. To realize meaning and discourse, a discrepancy is formed and this disconnection connects the world of narration to the given world.
Greimas sees this discontinuity as threefold: a disconnection of action, temporal and local ( as cited in: Babak Moein, 2009: 159).
A disconnection of action, that is, a disconnection from the me of the narrator to convert it to no-me or him; the temporal disconnection, the disconnection from the time of present, the act of saying and saying in the time of no-present or Another time ; and the local discontinuity, the disconnection of here , goes into the no place here or other place of the space (Ibid, 159- 160). In contradiction with this discontinuity, the discussion is disconnection by a discourse. The discourse conjunction is the passage from the given space to the space of action. Namely, the passage from the No-Me has been told to the I of the spoken space; from no to now to present, and from no-here to here(Ibid, 161).
In the sonnets of number 13 (Khojandi, 1993: 17), there is a continuous movement between the disconnection and the conjunction. Of course, the discursive conjunction also serves the discontinuity.
At the beginning of the first bit, the narrator, as an activator, brings a disconnection with the term after today and connects the discourse to the now-said, the near future. This process creates another discontinuity in discourse, which is an act of disconnection. It is based on the same disconnection that the activator reveals another love (you). Another love is nothing more than the conversion of me to the actor and not to another.
