پديد آورندگان :
كنگراني، منيژه دانشگاه آزاد اسلامي، واحد تهران مركزي - دانشكده هنر و معماري، تهران , نامور مطلق، بهمن دانشگاه شهيد بهشتي، تهران , خبري، محمدعلي جهاد دانشگاهى- پژوهشكده فرهنگ، تهران , شريف زاده، محمدرضا دانشگاه آزاد اسلامي، واحد تهران مركزي - دانشكده هنر و معماري، تهران
كليدواژه :
بيش‌متنيت , گونه شناسي , پارودي , نقاشي معاصر ايران , نگاره گريز يوسف از زليخا
چكيده فارسي :
بررسي روابط ميان متن ها كه از دير باز توجه محققان را به خود جلب كرده بود در قرن بيستم به شكل نظام مند و جدي در قالب نظريه بينامتنيت توسط كريستوا و بارت مطرح و نظريه پردازي شد. ژنت با بهره‌گيري از نظرات كريستوا انواع روابط ميان متن ها را با عنوان ترامتنيت نامگذاري و آن را به پنج گونه تقسيم كرد كه بيش متنيت يكي از آنهاست. مقالة حاضر در دو بخش مباحث نظري و نقد عملي، نخست به بررسي و شرح روابط بيش‌متني از منظر ژرار ژنت و گونه‌شناسي اين روابط متني مي‌پردازد. و سپس در بخش دوم سه نقاشي از آثار نقاشان معاصر ايران با رويكرد بيش‌متنيت تحليل مي‌شوند. علت انتخاب اين سه نقاشي توجه و برگرفتگي آنها از يك نگاره بهزاد به عنوان پيش متني واحد بود كه زمينه لازم براي بحث و تحليل بيش‌متني را فراهم مي‌آورد. پژوهش حاضر به روش توصيفي تحليلي داده هاي برآمده از مطالعة كتابخانه اي درباره بيش متنيت، و مشاهده آثار، از مفاهيم مورد توجه در بررسي و مطالعه نقاشي معاصر ايران بهره خواهد گرفت. تحليل اين آثار تلاشي به منظور رمزگشايي از آنها و يافتن الگوي مناسب براي توصيف، نقد و تحليل هنر معاصر ايران و ارتباط آن با هنر سنتي گذشته است.
چكيده لاتين :
The analysis of the relationships among texts, that
had attracted the attention of researchers from a long
time ago, was formally and systematically theorized
and presented by Kristeva and Barthes under the title
of intertextuality theory in the twentieth century. Using
Kristeva’s opinions, Genette named a variety of
relationships between texts under the title of transtextuality
and divided them into five categories one
of which is hypertextuality. Current paper, in two
parts- theoretical discussions and practical critiques,
firstly addresses the analysis and explanation of the
relationships of hypertextuality from Gérard Genette’s
point of view and typology of such textual relations.
Then, in the second part, three paintings of Iranian
contemporary painters with approach to hypertextuality
are analyzed. The reason of selecting these
three paintings was their consideration and derivation
from one of Behzad’s miniatures as a single hypotext,
which provides the essential groundworks to generate
hypertextual discussions and analyses. Current study
is going to benefit from concepts which are considered
in the analysis and study of Iran’s contemporary
painting through observing artworks and using data
descriptive-analytical method which is obtained from
desk research about hypertextuality. Analyzing these
artworks is an effort toward decoding them and finding
a proper pattern to describe, criticize, and analyze
Iran’s contemporary art and its relationship with traditional
art.
Genette’s hypertextual approach which is introduced
after kristevian intertextuality could be very helpful in
studying and criticizing some paintings. This approach
addresses the study of such artworks that are established
on the basis of connections among texts. In
the current article, hypertextuality approach was used
to study three Iranian contemporary paintings which
were adapted from Kamal ud-Din Behzad’s miniature
of the seduction of Yusuf.
First, these three artworks are created based on derivation,
so that these artworks would not emerged without
Kamal ud-Din Behzad’s miniature. Second, each
of these artworks exhibits a specific form of derivation.
In other words, three aforementioned artworks were
adapted, to some extent, from Kamal ud-Din Behzad’s
miniature of Yusuf and Zulaikha. Therefore, some sort
of drastic variety among these artworks indicates
contemporary artists’ various statements and expectations.
Third, hypertextual type of all three artworks
were parodic, which means contemporary artists used
Behzad’s artwork to be able to create a new artwork
in order to express their own emotions and thoughts.
Eventually, using indigenous and traditional hypotexts
not only doesn’t restrain artists’ creativity but also,
while providing an indigenous and comprehensible
statement, helps to some kind of aesthetic identity
proliferation, and of course, it will be accompanied
with critiques and updates.
