فضایِ گفتمان در نمایش‌نامۀ افول، نوشتۀ اکبر رادی، با تکیه بر تئوری استعاره‌های مفهومی

فضای گفتمان از‌جمله کلیدی‌ترین عناصر موجود در انتقال مفاهیم در هر متن نمایشی است. این مقاله بر آن است به این پرسش پاسخ دهد که استعاره‌ها چگونه می‌توانند زمینۀ گفتمان دربارۀ مسائل اجتماعی و تاریخی باشند و چه کارکردی در نمایشنامه به‌منزلۀ یک فُرم زبانی دارند. بر این اساس از نظرات جورج لیکاف و زولتان کوچش استفاده کرده و نشان داده‌ایم که چگونه استعاره‌ها، که ریشه در زبان ‌و فرهنگ دارند، به شکل‌گیری فضای گفتمان کمک می‌کنند. لیکاف و کوچش فضای گفتمان را حاصل تعامل میان ذهن، بدن و بافت فرهنگی که کنشگران در آن حضور دارند، می‌دانند. بنابراین، در یک متن نمایشی ما با ترکیبی از تعامل میانِ ذهن نویسنده و مخاطب و همچنین، تجربه‌ها و انتزاع‌هایِ جسمی و ذهنی هر دو روبه‌رو هستیم. همچنین، بافتی که در آن نمایش‌نامه شکل می‌گیرد و بافتی که در آن نمایش‌نامه فهم می‌شود عنصری اساسی است. نتایج به‌دست آمده در این مقاله نشان می‌دهد که اکبر رادی با استفاده از استعاره‌ها و زمینه‌های فرهنگی و تاریخیِ متن، فضای گفتمانی چندگانه و استنباطی را در نمایشنامۀ افول پدید آورده است. به این شکل که در یک سطح با استعاره‌هایِ زبانی روبه‌رو هستیم که در ساختار متن (دیالوگ‌ها، اتمسفر و شخصیت‌پردازی) عمل می‌کنند و در سطحِ بالاتر با استعاره‌های مفهومی روبه‌رو هستیم که از طریقِ برقراری روابط میانِ عینیتِ نمایش‌نامه و تجربه‌های مخاطب عمل می‌کند و فضایِ گفتمان متن را در فضایِ ذهن مخاطب ادغام و فضای گفتمانِ تازه‌ای را پدید می‌آورد

A Study of Discourse Space in the ofol Play by Akbar Radi, Based on the Theory of Conceptual Metaphors

Discourse space is a key element in conveying concepts in a play text. This article will look forward to answer this question how metaphors could be used in discourse about social and historical problems and their usage in play texts as a linguistic form. Hence we will use George Lakoff and Zoltan Kovecses views and then we will show how metaphors which are the building blocks of Language and Culture, are used to help form the discourse space. Lakoff and Kovecses look to discourse space, as a result of interaction between mind, body and type of the culture that interactors live within. Hence in a play text, we will face a complex interaction between writer rsquo;s / audience mind in one hand, and experience and physical and mental abstraction on the other hand. Also the context where the play text is formed in, and the context where it is comprehend, are the key elements. This article will show how by using metaphors and cultural and historical contexts, Akbar Radi has managed to create a complex and deductive discourse space in Ofool text. So at first, we are facing linguistic metaphors which act in text structures (dialogues, atmospheres and characterizations), and in higher level, we are facing conceptual metaphors which act by making connection between play text origination and audience experiences that merge contextual discourse space into audience mind space which will result in a new discourse space.Discourse space is one of the key elements in conveying concepts in any dramatic text. This article seeks to answer the question of how metaphors can be the subject of discourse on social and historical issues and what function they play in the play as a linguistic form.Based on this statement, we have used the ideas of George Lakoff (1941) and Zoltan Kovecses (1946) and shown how metaphors, which are rooted in language and culture, help to shape the space of discourse. Lakoff and Kovecses see the space of discourse as the result of an interaction between the mind, body, and cultural context in which actors are present.Thus, in a Dramatic text, we are faced a combination of the interaction between the writerchr('39')s mind and the audience, as well as both physical and mental experiences and abstractions. Also, the context in which the play is formed and the context in which the play is understood are an essential element.The results obtained in this article show that Akbar Raadi, using metaphors and cultural and historical contexts of the text, has created a multidiscourse and inferential atmosphere in the Ofool Play.In this way, on one level we are confronted with linguistic metaphors that operate in the structure of the text (dialogues, atmosphere and characterization), and on a higher level we are dealing with conceptual metaphors that operate through the relationship between the objectivity of the play and the audiencechr('39')s experiences. It integrates the text into the audiencechr('39')s mind and creates a new discourse.One of the contexts of discourse is culture. Culture is a set of our shared understanding of the world, and frameworks form a major part of that understanding.Based on the results obtained in this study, frameworks have emerged from the interaction of metaphors and structure our perception of events. Metaphor in metahistoriography is not an array or literary industry, but a linguistic and discourse capacity.In this respect, we are faced two spectrums of metaphor that represent one category of nonlinguistic concepts (related to context and culture) and the other category of linguistic concepts (discourse space).In the play entitled ldquo;ofool rdquo; by Akbar Radi , the native context and culture of Narestan are considered, by default. On the other hand, the discourse space in the play is the result of time, mental spaces, parts of culture and texture.From a discursive point of view, parts of speech and actions play an essential role in the interpretation of events and the formation of concepts. Radi has made dramatic use of confrontations in the direction of discourse about the present and the past, and has tried to construct a form of discourse from different mental spaces, without seeking orientation toward a particular idea.The basic atmosphere in the play of rdquo;ofool rdquo; is a broad historical and social context that is not even limited to Narestan or the climate of northern Iran.The conceptual metaphors of action is power and failure is ignorance , understanding is freedom , fighting against nature is oppression , happiness is obedience and similar metaphors are concepts that do not remain limited to the text of the play and they can be studied from a cognitive point of view and in the form of any other historical phenomenon in Iran.As the conflict between Emad and Ascension is a metaphorical reference to the failure of the idea of ​​reform in the history of Iran. Meraj seems to have devoted all his efforts to building the school until the end of the play, but it is Emad who, by transferring the property to Kasmai, shows the main action (moving forward) and that he simply surrenders to the situation. Yes, Jahangir is Ascension.Thus, the passive intellectual who until then had urged the people to wait, to come out of their dark cocoons and to use their terrible power is doomed to failure.The evidence presented in this article shows that conceptual metaphors are more culturally and sociologically determined, and that the play, as a text that engages the audiencechr('39')s mental space more dynamically, is a mechanism between understanding abstract concepts and performing them