ما-روایتگر در زاویه‌دیدهای ترکیبی: شاخصه‌هایی برای تمایز روایت‌های جمعی و غیر جمعی

ما-روایت با کارکرد عنصر زاویه دید در داستان می تواند به اشکال گوناگونی بروز یابد. یکی از این کارکردها در صورتی حاصل می شود که داستان از دو یا چند زاویه دید برای روایتگری بهره ببرد و یکی از این زاویه دیدها، با ما-راوی ارائه گردد. در این صورت اصالت بخشی به یکی از این زاویه دیدها، چندان ساده نخواهد بود. در واقع موقعیّت بینابین یادشده به الگویی نیاز دارد تا بتوان با تمسّک به آن، روایت جمعی را به مثابه کنش روایی ما-راوی از روایت غیرجمعی که محصول دیگر زاویه دیدهای داستانی است ، متمایز کند. پژوهش پیش ِ رو درصدد است تا با روشی استنتاجی و با بهره گیری از روایت های گزینش شده ای از پیکره‌ ادبیات داستانی فارسی، به این وضعیّت بپردازد. نتیجه‌ چنین مطالعه ای که با استفاده از عناصر داستانی و گفتمانی، روایت ها را مورد خوانش قرار می دهد، چهار عامل را به عنوان شاخصه در مسئله‌ مدّنظر معرفی می کند. این شاخصه ها که ناظر بر جنبه های صوری و محتوایی روایت ها هستند، نشان می دهند که داستان برای جمعی تلقّی شدن، نیازمند نمایش گسترده‌ ما-روایت است. گروه ارائه دهنده‌ ما-روایت باید نسبت به سایر عناصر روایتگرانه‌ داستان، ارجح باشند، درباره‌ موضوع کانونی، تفکری هم راستا داشته باشند و در کنشگری خود، یکپارچگی را بازتاب دهند.

we-narrator in complementary point of view: factors for distinguish between collective and non-collective narratives

the function of the we-narrative with the element of perspective in storytelling can take various forms. one of these functions occurs when the story employs two or more points of view for narration, and one of them is presented by the we-narrator. in this case, authenticating one of these points of view is not straightforward. in fact, the intermittent position mentioned requires a pattern to differentiate collective narration as the narrative action of the we-narrator from non-collective narration, which is the product of another story's point of view. the present research aims to address this situation using an inferential method and by utilizing selected narratives from the corpus of persian fictional literature. the result of such a study, which examines narratives through story and discursive elements, introduces four factors as indicators of the problem under consideration. these indicators, which pertain to the formal and content aspects of the narratives, demonstrate that the story requires extensive representation of the we-narrator to be perceived as collective. the collective narrator presenters must prioritize the other elements of storytelling, align with the central thematic issue, and reflect coherence in their agency. keywords: collective narration, we-narrator, story elements, complementary point of view, contemporary persian fiction. introductiona shift in narrative perspective allows the author to break free from conventional constraints, enabling the incorporation of sub-narratives into the story without compromising its narrative logic. the we-narrative is one such functional sub-narrative, often utilized by writers as part of the complementary point of view within novels or longer narratives that primarily employ either first-person singular or third-person omniscient perspectives.from this standpoint, altering the narrative point of view can also transform the story rsquo;s perspective, thereby deeply influencing the narrative form. this may explain the increasing use of hybrid perspectives in contemporary storytelling. however, studies on collective narration have yet to establish clear distinctions in cases where stories do not exclusively rely on the we-narrative but instead combine it with other perspectives.the present study addresses this apparent ambiguity in distinguishing between collective and non-collective narratives, particularly in instances where a single story employs both a we-narrator and other perspectives concurrently. in other words, this comparative study aims to establish criteria for identifying we-narratives within hybrid perspectives. one of the most significant challenges in studying we-narratives arises when the story employs a first-person plural narrator and another narrator. addressing this issue requires developing a model with a solid conceptual foundation that can encompass a range of literary works. given the unique characteristics of collective narration mdash;many of which manifest in the collective identity of the narrator mdash;this model must provide evaluative criteria that consider both content-based aspects (the collective identity of the narrator) and formal aspects (its representation as a we-narrator). literature reviewresearch on we-narratives in persian literature began with the seminal study by jahedjāh and rezāei ldquo;(2013) a theoretical and practical study on first person plural narrative (in five short stories of hooshang golshiri) rdquo;. in this study, the authors draw on the perspectives of three narrative theorists mdash;uri margolin, brian richardson, and amit marcus mdash;to introduce and categorize different types of first-person plural narration, using examples from golshiri rsquo;s short stories.subsequent studies by shahbazi and colleagues have provided ongoing and focused analyses of contemporary persian literary works, aiming to elucidate various aspects of we-narrators and we-narratives. these studies include:- we narrator of 'khane roshanan by golshiri: a causative analysis (2020)- we narrator linguistic potentials: first-person plural practicality in narration (2022)- lsquo;sharhi bar qasideye jamaliye rsquo; or a describing the narration of a collective story (2023)- in the way of us with them; structural semiotic of malakh by houshang golshiri (2024)however, these studies have established criteria for distinguishing collective narratives from non-collective ones. still, no research has specifically examined collective narration within hybrid perspectives to differentiate we-narratives based on narrative elements. methodologythis study examines three selected stories that employ a combination of first-person singular and first-person plural perspectives while differing in their frequency of usage of these perspectives. these stories have been purposefully selected to showcase the diverse ways in which we-narration is employed. narratives that combine first-person plural and third-person perspectives have been excluded because, from a discourse perspective, first-person singular/plural combinations demonstrate greater structural complexity and less obvious distinctions between narrators. however, to enhance the discussion, at least one example of a story written in this manner will be briefly reviewed. for a more precise analysis, this study draws on jaap lintvelt rsquo;s (2019) theoretical framework on narrative structures. discussionin the short story ldquo;bi-matarsak rdquo; by ali ghobishavi, the author combines a we-narrative mdash;which occasionally shifts focus to a single member of the group mdash;with a third-person limited perspective. the clear narrative markers in the text emphasize shifts in perspective. ldquo;sharhi bar qasideh jamaliyeh rdquo; centers around the arrival of a caravan of camels in a northern city. the we-narrator of this story mdash;composed of an initial ldquo;i rdquo; that transitions into a distinct collective ldquo;we rdquo; mdash;attempts to recount how the town resolved its disorder. structurally, this narrative combines first-person singular and first-person plural perspectives.in ldquo;julie and julia rdquo;, the narration consists of two distinct first-person singular voices and a shared we-narrator. throughout most of the story, events and actions are described collectively, yet the ldquo;i rdquo; narrator is never entirely absent.in ldquo;goharbaran rdquo;, the first-person narrator alternates between past and present, forming a we-narrative with different groups (first with his spouse and later with his uncle rsquo;s family) while remaining an isolated ldquo;i rdquo; in his thoughts.a structural analysis of these stories reveals several noteworthy characteristics, suggesting the potential for a formal model to categorize them. conclusionfour key characteristics of technical we-narratives have been identified, which can serve as a framework for categorizing stories that employ hybrid perspectives: