بازآفرینی یک روایت در دو اثر: داستان «مردگان» اثر جویس در سینمای ایران

در سال‌های اخیر، اقتباس به‌عنوان شاخه‌ای جدید در نقد ادبی مورد توجه منتقدین قرار‌گرفته‌ است. در ایران نیز اقتباس‌های مختلفی از آثار ادبی ایرانی و خارجی در چند دهۀ اخیر انجام‌گرفته ‌است. پلّه آخر (1392) به کارگردانی علی مصفا یکی از جدیدترین آثار اقتباسی و برگرفته از داستان معروف «مردگان» (1914) اثر جیمز جویس (1882-1941) است. در این مطالعه، با استفاده از تئوری کانون دید ژرار ژِنِت، به‌دنبال بررسی تغییر روایت از متن نوشتاری به فیلم و پیامدهای آن خواهیم بود. تئوری کانون دید ژِنِت، با معرفی سه نوع کانون دید بیرونی، درونی و صفر و همچنین چهار نوع روایت با توجه به سطح و رابطۀ راوی با داستان، ابزار مناسبی برای مقایسۀ اثر ادبی و فیلم اقتباسی در قالبی روایت‌شناسانه است. بنابراین، مطالعۀ حاضر سعی دارد با بررسی این تغییرات در روایت «مردگان» و پلّه آخر و با تکیه بر تئوری کانون دید، دربارۀ علل و نتایج آن‌ها به بحث و نتیجه‌گیری بپردازد. یافته‌های این مطالعه نشان می‌دهد که تاثیر آگاهانه یا ناخودآگاه اقتباس‌کننده مذکر بر نوع روایت، باعث کم‌رنگ‌شدن نقش لیلی و هم‌ذات‌پنداری بیشتر مخاطبان با قهرمان منفعل این فیلم، یعنی خسرو شده است. علی‌رغم روایت پیچیدۀ داستان فیلم، قضاوت در مورد شخصیت‌های فیلم برای مخاطب توسط این تغییر در روایت آسان شده‌ است.

Reconstructing Narratology in Two Works: Joyce 's The Dead is Adapted in Iranian Cinema

Extended Abstract1. IntroductionAdaptation studies, as a new branch in comparative studies, has been subject to various reviews and criticisms. Although the negative attitude of Iranian directors towards adaptations as a secondary profession has been ameliorated nowadays, there are still many directors who try to avoid adaptations. As one of the most recent Iranian adaptations of western literary works, Mosaffa’s “The Last Step” [Pelleye Akhar, 2012] is based on Joyce’s (18821941) “The Dead” (1992) and Tolstoy’s (18281910) “Death of Ivan Ilych” (1886). However, this film adaptation is mostly based on Joyce’s short story, rather than Tolstoy’s novella. Thus, this paper will explore the changes in the narration of the short story and Mosaffa’s adaptation. “The Last Step” is concerned with the life of a highconflict couple, Khosro and Leyli. The movie starts with Leyli’s incessant laughter after the death of her husband and the audience will gradually find out the cause of this laughter her and emotional detachment. “The Dead” also narrates the story of the conflict and emotional detachment of a couple. Nonetheless, the linear, third person, omniscient narration of the short story turns into the nonlinear narration of Mosaffa’s adaptation. The movie is narrated through the narrative voiceovers of the two main characters (Leyli and Khosro) though Khosro is more authoritative in his narration. The findings of this study show that the (un) conscious effects of a male adapter on narration has resulted in the changes in narration. 2. MethodologyThe current study is qualitative in nature. Benefitting from Gerard Genette’s ideas about focalization, this paper investigates the changes applied to narration in the shift from the written text to the movie. The signifimnace of these shifs and modifications are also discusseded and analaized. Introducing the three types of focalization (i.e., external, internal, and zero) as well as the four different types of narrative, based on the narrator’s level and relation to the story (i.e., extradiegeticheterodiegetic, extradiegetic homodiegetic, intradiegeticheterodiegetic, and intradiegetichomodiegetic), Genette’s theory of focalization provides us with an appropriate tool to compare the literary work with its adaptation through a narratological viewpoint. The aim of this comparison is to reveal the significance, causes, and consequences of these narratological changes in “The Dead” and “The Last Step”.3. DiscussionUsually, in the move from a novel to a film, the increase in the visual dimension and the decrease in the aural dimension are expected. However, the two narrative voices express the emotions, decisions, past experiences, and intentions of the characters in Mosaffa’s “The Last Step”. The narrator is not an omniscient one and each character’s feelings are expressed through another character’s narrative voice, while the narrator of “The Dead” is a third person omniscient narrator, who is aware of all characters’ emotions, feelings, and past experiences. The narrator does not interfere with the storyline and he is aware of all characters’ feelings and experiences almost equally; also, he is not a character in the story, thus one can call this narrator heterodiegetic. On the other hand, the film adaptation is narrated through the voiceovers of its two main characters. The male character is privileged over the female one. Even the female narrator mainly describes the male character’s feelings, rather than her own. Therefore, one can call the narrative of this movie as homodiegetic. Furthermore, based on Genette’s focalization types, the omniscient narrator of “The Dead” is close to zero focalization and that of “The Last Step” is close to internal focalization, in which one or two of the characters narrate the story. Besides, based on Genette’s discussion over the different levels of narration, Khosro’s narrative voice recounts the story of his alienation from his wife and his death, in which the narrative voice of Leyli plays the role of a narrator. Thus, his narrative is one level higher than that of Leyli and is considered as extradiegetichomodiegetic. Yet, Leyli’s narrative, who mostly recounts Khosro’s story except in the scene of her confession, is called intradiegeticheterodiegetic. 4. ConclusionThe findings of this study show that the third person omniscient narrator of “The Dead” turns into the first person narrative voices of the two main characters in the movie. Thus, the extradiegetichomodiegetic narrative voice of Khosro, which narrates his own story, is one level higher than Leyli’s intradiegeticheterodiegetic narrative voice. Therefore, while it seems that both these male and female characters have narrative voices, it is Khosro, who plays the main role in attracting the audience’s attention, winning their sympathy, and having the higher level of narrative voice. One can conclude that the (un)conscious effects of a male adapter on narration has resulted in the marginalization of female role and brought audience’s sympathy with the passive male protagonist of this movie, Khosro. Despite the complex narration of the movie, the change in narration has made the characters’ recognition easier for the audience.