تحلیل نشانه – معناشناسیِ «زاویۀ دید» در منظومۀ عاشقانه ورقه و گلشاه عیّوقی براساس الگوی ژاک فونتنی

ژاک فونتنی، نشانه – معناشناس مشهور فرانسوی در کتاب نشانه معناشناسی و ادبیّات ،تعریف جدیدی از مفهوم زاویۀ دید ارائه می دهد. وی مدل خود را که بر مبنای انتخاب دو کنش‌گر اساسی در زاویه دید، یعنی کنش‌گرهای موقعیّت گرا که تعیین کننده منبع و مقصد زاویۀ دید هستند، طراحی کرده است. دراین پژوهش با بهره گیری از ابزار کتابخانه ای و براساس تحلیل داده ها به روش کیفی وروش استدلالی استقرایی، مدل فونتتی باهدف مشخص شدن نقش و اهمیّت زاویۀ دید وکارکردهای آن و پاسخ به این سوال که آیا گزینش زاویه دیدهای متفاوت در منظومۀ ورقه و گلشاه از سوی گوینده، بر القای معانی متفاوت به مخاطب و نیز برجسته کردن ابعاد مختلف روایت، کارآمد است؟ بررسی می شود. نتیجه پژوهش نشان می‌دهد دراین منظومه، شاعر، به منظور القای معانی مختلف به مخاطب، به صورت ترکیبی در بخش‌های مختلف گفتمان اززاویۀ دیدهای جهان شمول 8 بار، تسلسلی36 بار، گزینشی4 بار ، جزءنگر 13 بار، موازی 40 بار و رقابتی 3 بار با جنبه های زیبایی شناختی متفاوتی از نشانه‌ها بهره گرفته است. از آن روی که ورقه و گلشاه منظومه‌ای حماسی است کاربرد زاویۀ دید موازی در آن بیشتر است، زیرا در این منظومه‌ها، مهم‌ترین عامل حرکت ساز داستان گفت و گوی شخصیّت‌هاست.

Analysis of sign semantics point of view in romantic poem of Ayyuqi’s Vargheh va Golshah Base on Jacques Fontaine’s Pattern

Abstract     Jacques Fontaine, a sign semantics famous French, in the sign – semanticsand the theory of literaturedeclared his views. According to Fontaine, with challenging personal characteristics, provided a new definition of the concept of point of view. In this regard, the pattern exhibits, a model based on the two basic actionermeans. In this research we try to study Fontaine’s pattern    Vargheh va Golshah–one of the oldest lyrics poems in Persian Literature. The aim is determine the role and importance of point of view in this poem . The result showed that poem of Ayyuqi’s Vargheh va Golshah to convey a different meaning to your audience as a combination in different parts of the discourse of the angle views worldwide, regress, selective, partial (specific) parallel and competitive advantage. The results suggest that the composer of six points of view to create knowledge has benefited: the frequency of serial points of view 36 times, universal 8 bar, fragmental 13 times, Parallel 40, competitive 3 Bar. Since poem of Vargheh va Golshah is an epic poem ,the use of parallel point of view is more; because the most important influential factor in epic tale sis character dialogue.     1. Introduction     Jacques Fontaine, a famous French semantics marker in recent decades, has raised his views on the concept of angular vision in the Book of Semiotics and Literature. He believes that the angle of vision leads to discourse transformations and multivoice approaches. Regarding the angle of view, at first, comments by Michail Bakhtin were used to describe the characteristics of Dostoevsky’s novels, and later on, the angle of view was found in many applications, especially in the field of linguistics and multivoice discourses. Jacques Fontaine, as well as other theorists of the analysis of elemental elements, is a special place for the role of the angle of vision in discourse. The angle of vision is definitely a decisive factor in the discourse, and as a result, it becomes a semantic action. In Fontaine’s opinion, he must present a new definition of the angle of vision by challenging personal characteristics. In this regard, he manages his model, a model based on the selection of two basic actors in the angles of vision, that is, positional factors that determine The source and destination are the angles of sight, so the theorist of storytelling believes that the angle of view is the most important narrative narrative that affects the structure of the whole story and plot. From the point where the semanticsemantic view is believed to constitute meanings, they formulate linguistic forms. The fundamental question is whether the choice of the angles of the different viewers in a narration by the speaker, on the induction of different meanings to the audience, and the highlighting of different dimensions one version of the story is impressive. The version of its model is designed from the angle of view, based on the choice of two basic actors in the angle of view, that is, positional activators that determine the source and destination of the angle of view. What makes these two actors in relation to each other is a special mark. The action between the actual marking and the potential reception of the carrier is twice semantic: the setting of the viewpoint the regulation of the relationship between the source and the destination and the movement of the actors, that is, the transformation of situational activists into actors for the semiotic orientation.2. Research methodology  In this research, the method of collecting information from the method of the library, the method of reasoning research, the method of inductive method (except for the whole) and the method of data analysis is a qualitative method. In this research, we have tried to use the Jacques Fontaine model in the Vargheh and Golshah system, which is one of the oldest languages ​​of Ghana Farsi is to be studied in order to determine the role and importance of the angle of view and its functions in this system because the selection of the angle of view by the narrator in the discourse plays an important role.3. DiscussionIn the poetry of Vargheh and Golshah, the narrator used a combination of different meanings to his audience, combined with different sections of the discourse, from the angle of universal, sequential, selective, and competitive component, each of which is the aesthetic dimension Emphasize different signs in the narrative. Signs and meanings that only form the basis of the interaction between the language and the experience of actors from the outside world. The universal viewpoints have common features with a whole wider angle. This approach comes from a very wide range of visual species, or the principle of generalization, and a list of views. Therefore, in such a gesture, the principle is based on the rule of the external species that are valued according to their unity and integrity . The verbs, such as satiating, look at the flow, look, and such examples in this way belong. The cavity of viewing angles is a kind of cognition that has different aspects of one thing or a position one after the other behind they let. In this way, this angle of vision can also be called comprehensive. This comprehensiveism is based on a sort of sequencing and sequencing of the look which is achieved by putting together or combining several angles of sight In this angle of view, the writer or multiplier speaks of one thing or one position one after the other in the form of a sequence or a sequence of views by putting together and combining several angles of vision. In the angle of view, the basic element is the choice the best example is possible. Achieving such an example: It causes the search to be stopped, because the selection sample is somehow representative of all other aspects. Choosing the names of characters by the narrator can be seen from this angle of view, because selection is the result of a qualitative development based on the best example of the funds of something or a situation that stops with the selection of the best possible sample”.4. ConclusionThe result of the research shows that in the poetry of Vargheh and Golshah, which, like the ancient diaspora, has a simple and primitive design and is lacking in particular complexity and is the true cause of the events of this beautiful story of Golsha, the poet, in order to induce semantic meaning for his audience, combined in different parts The discourse uses universal, rectilinear, selective, parallel, and parabolic visual features that each highlight a different aesthetic dimension of the signs in the narrative. Signs and meanings that are based only on the interaction between the language and the experience of activists from the outside world. The genre of Vargheh and Golshah is more widely used in universal narratives, sequels, selective, parallel, and paraphrase, which highlight each different aesthetic aspect of the signs in the narrative. From the angle of the constellation, often to describe the scenes and events in the narrative, from the angle of parallel vision more in the debate between the narrative factors or characters such as the debate between Vargheh and Golshah or speaking between the sheet and his father, more than the angle of view is more competitive To capture nonemotional or emotional typesperceptions that affect the emotions and inner feelings of a person.         References1. Ahmadnejhad, Kammel and Shahrzad, Dehghani. “Comparison of the Varqa wa Golshāh from Ayyuqi with Lily and Majnon from Nezami”. Hafez Journal. No. 97, Pp. 3640, 2012 (1391).2. Ahmadi, Babak. “From visual semiotics to text”. 1st edition, Tehran: Central Poblications, 1992 (1371).3. Ayyuqi. “Varqa wa Golshāh Ayyuqi”. By the Zabihollah Safa efforts. Tehran: Tehran University Publications, 1964 (1343).4. Bateni, Mohammad Reza. “Language and Thought”, 1st Edition, Tehran: Farhange Mo’asere Publications, 1994 (1373).5. 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