صورت‌های خیالیِ مجموعه‌ی شعری پشت یک لبخند بیوک ملکی بر اساس نظریه‌ی ژیلبر دوران

تخیل در تمام نمودهای مذهبی، اسطوره‌ای و ادبی این قدرت متافیزیکی را دارد که آثاری علیه زوال، مرگ و سرنوشت خلق کند. گذر زمان و ترس از مرگ، مقوله‌ای است که همواره ذهن انسان را آشفته و پریشان کرده است و او را واداشته تا برای مقابله با اضطرابِ مرگ، خودآگاه یا ناخودآگاه واکنش نشان دهد. در میان شاعران حوزه‌ی نوجوان نیز مرگ‌اندیشی، ذهن‌ خلاق بیوک ملکی را بر آن داشته تا برای درمان اضطراب مرگ برای مخاطبانِ نوجوانش به قوه‌ی تخیل خویش پناه ببرد و ترس‌ها و شیوه‌های کنترل آن را در تخیل خود با تصاویری نمادین بازگو کند. ازآنجایی‌که مجموعه‌شعر پشت یک لبخند از ملکی تصاویر دو قطبی (مثبت و منفی) را دارد، پژوهشگر را بر آن داشته تا با نگاهی نو، صورت‌های خیالیِ موجود در این مجموعه‌شعر را طبق نظریه‌ی ژیلبر دوران با استفاده از روش کتابخانه‌ای بررسی کند و پاسخ این پرسش را بیابد که بارزترین صورت‌های خیالی این مجموعه‌ی شعری، متعلق به کدام منظومه‌ی تخیلی است؟ نتیجه‌ی کلی پژوهش حاضر بیان‌گر این نکته است که بیشترین تمایل اندیشه‌ی ملکی در این مجموعه، به منظومه‌ی روزانه‌ی تخیلات با ارزش‌گذاری مثبت است که نشان می‌دهد شاعر تا اندازه‌ی زیادی به دنیای نوجوانان وارد شده و تصویر مرگ را در تخیل خود تلطیف کرده و وحشت آن را گرفته و به جای آن، تصویرهای خیال‌انگیز و امیدبخش آفریده ‌است. زمان و مرگ در تخیل این شاعر در ریخت‌های حیوانی، تاریکی و سقوطی ظاهر شده و سپس با تصاویری متضاد کنترل گردیده است. در مجموع تصویرآفرینی‌های موجود در مجموعه‌‌شعر پشت یک لبخند از نظر ترتیب فراوانی بدین شرح است: ریخت‌های تماشایی 36 نمونه (39.13 %)، ریخت‌های عروجی 23 نمونه (25 %)، ریخت‌های تاریکی 18 نمونه (19.56 %)، ریخت‌های سقوطی 7 نمونه (7.60 %)، ریخت‌های جدایی‌کننده 5 نمونه (5.43 %) و ریخت‌های حیوانی 3 نمونه (3.26 %).

Imaginary faces of a collection of poems behind a Buick Malek smile based on Gilbert Doran's theory

Omid VahdanifarAssistant Professor of Persian Language and Literature, University of Bojnord  Introduction Imagination in literary texts in the field of children and adolescents is one of the necessary elements and is one of the components that motivate children and adolescents to read; Because by reading these works, the child finds herself in a world beyond the world and logic dominated by adults and finds a suitable place for psychological relief from the imposed pressures and easily understands the abstract concepts of the world around her with the power of imagination. One of the methods used today to analyze texts is to use the views of theorists who have clearly presented its principles. Gilbert Doran is one of the leaders in the field of literary criticism and especially literary imagination. In one of her theories entitled Daily diet of imagination and night diet of imagination, she has analyzed the visual and imaginative functions of artists. Whereas Buick Maleki, a poet in the field of adolescent poetry, has reflected the result of his worries about the passage of time and death in the collection of poems Behind a Smile; The presence of these concepts in the collection led the author to use Gilbert's theory to identify the era of the poet's creative mentality in the creation of imaginary images and to examine the adolescent poet's way of thinking about the world, the effect of time and death on creation. Poetic images and recognizing his imagination in expressing fears. Research method, background and purpose In this study, due to the value and importance of illustration, the author decided to investigate the structure of imaginary forms of the poetry collection behind a real Buick smile, relying on Gilbert Doran's theory of imaginary species and clusters. Identify the image of the poem of this poet. Numerous researches have been done on images of children and adolescents in literature, some of which are referred to: Farmer in Children and Adolescents' Poetry by Mahmoud Purohab (2002); Images of Imagination in Rahmandoost Poetry by Armaghan (2006); Content study of children's poetry of the 70's (age groups A, B and C) by Seyed Mehdi Zarghani and Mahboubeh Abbaspournoghani (2007); Study of Imagination in the Poetry of Child Poets Based on the Works of the Center for Intellectual Development by Luimi (1398). Some collections of Buick Maleki's adolescent poems have also been reviewed in the form of articles; Including: This sidewalk is stretched across the ground, written by Rajabzadeh (2003); The feeling of these poems, written by Nazarahari (2003) and Study of poetic images (images) in the poems of the young Buick Maleki, by Najafian (2012). As far as the author of the present article has researched, the function of literary imagination based on Gilbert Doran's theory in the field of children and adolescent literature has not been studied so far, so the present article is one of the first researches in the field of adolescent poetry with this approach. Discussion Gilbert Doran believes that time manifests itself through images; This means that the images show a fear of time. Because according to his theory, behind every fear, there is fear of death and behind every death, fear of time. Man makes a connection between fear and time and realizes that with the passage of time he goes to death, so he is afraid and as a result a series of images appear in his imagination and mind in response to the passage of time. In The Anthropological Structures of Imagination, Duran divides images into two large collections, the Daily System of Imaginations and the Night System of Imagination. The Daily System of Imaginations is a dialectical system with contrasting poles that includes scary (negatively evaluated) and nonterrifying (positively evaluated) images, but the Nightly System of Imaginations »Has a hybrid state; Instead of facing each other, the two poles are placed in each other's hearts. In this group of images, the mode of fear of time is observed and the fear in it is adjusted. The structures of the daily system of imagination with negative evaluation are divided into three categories of falling casts, darkness and animal cast. All of these examples have one thing in common: fear. Positively valued structures of the daily system of imagination are also classified into three categories: ascending, spectacular, and separating casts. The common denominator of these forms is overcoming the sense of fear with different structures. In fact, fear of time forms negative forms (falling, darkness, and animalism), and overcoming fear of time creates positive forms (ascending, spectacular, and separating). It seems that from the collection of Gilbert Doran's proposed model based on the structures of imagination, his daily system of imagination can be applied to the collection of poems behind a Buick Malek smile. Because his poetry has bipolar (contrasting) images and the controversy of bipolar images such as white and black, light and darkness, night and day, sadness and joy, cold and hot, full and empty are visible in most of the expressive forms of his poetry collection. Is. Conclusion Imagination is an active element in the collection of poems behind a Buick Maliki smile and has a special and sincere subtlety; Because when reading this collection of poems, you can feel it and visualize it in your mind. The structure of the imaginations in this collection is such that the fallen, dark and animal casts are seen with negative evaluation, as well as the ascending, spectacular and separating casts with positive evaluation. But in general, real estate thought belongs more to the daily system of positively valued fantasies (nonscary and pleasant). Because among the images in this collection, spectacular shapes of 36 samples (39.13%), ascending shapes of 23 samples (25%), dark shapes of 18 samples (19.56%), falling shapes of 7 samples (7.60%) Separating molds are 5 samples (5.43%) and animal molds are 3 samples (3.26%). This level of application shows that Maliki has been able to save himself from the anxiety caused by the passage of time that he has shown in the daily system of negatively valued fantasies. Therefore, Maleki is a poet with an ascendant spirit and psyche, and he can be considered an example of vertical poets, climbers and ascetics. Considering Gilbert's model, it becomes clear that Maliki is a person who does not accept the idea of ​​destruction. Hence, it has softened the meaning of death for teenagers and taken away their horror. Because in general, in the daily system of fantasies, he has created calm and controlled images for his audience over time and has given them hope for life. ReferencesArmaghan, Ali. (2006). Images of Imagination in Rahmandost Poetry. Journal of Children and Adolescent Literature, No. 45 and 46, pp. 222238.Balkhari, Hassan (2006). Artistic imagination from the perspective of Sheikh Ishraq. Journal of the Academy of Arts, Volume 5, No 43, pp. 5958.Elijah, Mircea. (2005). The myth of eternal return. Translated by Bahman Sarkarati, Tehran: Tahoori.Ibn Manzoor, Jamaluddin Muhammad Mukarram. (1405). Arabic language. Qom: Field literature.Partovi, Abu alQasim (1997). Research on the symbolic manifestation of dark water and its semantic approaches. 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