خطاب و فراخوانی جنسیتی سوژه‌ها در داستان‌های صادق هدایت

بنا به رخدادهای اجتماعی فرهنگی ایران پس از مشروطیت، شکل های فراخوانی سوژه های انسانی و وجوه برساخت هویتی آنان تغییرکرده؛ این امر بر برساخت سوژه های داستانی اثر گذاشت. یکی از این موارد شکل متمایز فراخوانی جنسیتی سوژه های زن است که در همان داستان های آغازین ادبیات معاصر فارسی بویژه در داستان های صادق هدایت دیده می شود. در این نوشتار با نگاهی برساخت گرایانه، خطاب و فراخوانی جنسیتی سوژه ها در داستان های صادق هدایت طبقه بندی و تفسیر شده‌است. برای تبیین سطح کلان بحث، به نظریه آلتوسر و برای تحلیل دلالت های متنی به آرای گافمن، براون و لوینسون استناد شده‌است. نتیجه نشان می دهد که برساخت موقعیت/ وضعیت هر یک از سوژه های داستانی حاصل سه سطح  فراخوانی تنانه، کنش محور و متعلقات محور است که بر زبان راویان یا سوژه های داستانی جاری شده و همین خطاب ها سبب وجهه مثبت یا منفی سوژه ها شده‌است. البته در خطاب و فراخوانی تنانه، اگرچه توصیف بدن ها به شکل ابژکتیو و عینی صورت گرفته‌است، به هنگام ارزیابی و قضاوت درباب همان بدن ها، معیار وجهه بخشی، ذهنی ذوقی و مبتنی بر معیارهای زیبایی شناختی کلاسیک است. برعکس سطح مذکور، بنا به غلبه نگاه رئالیستی بر متن ها، در فراخوانی های کنش و متعلقات محور، مناسبات طبقاتی و شکل های سلیقه و مصرف سوژه های موضوع فراخوانی، ملاک انواع وجهه بخشی است. بر همین اساس اگرچه کلیت برساخت جنسیتی سوژه های زن داستان های هدایت همسو با فردیت گرایی جهان معاصر بر مناسبات شخصی و تاریخی سوژه ها استوار است، ملاک های وجهه بخشی در آن، به صورت مرزی و توامان بر مبنای انواعی از معیار های معرفتی زیبایی شناختی کلاسیک و معاصر سامان یافته‌است.

Gender Interpellation of Subjects in Hedayat’s Stories

Due to the sociocultural events following the Constitutional Revolution in Iran, the forms of interpellation of human subjects and their identity construct have substantially changed, affecting the construct of subjects in fiction. Unique interpellation of female subjects in the early 20thcenutry Persian fiction, especially in that of Hedayat, could be cited as a great example of this phenomenon. Employing a constructivist approach, the present paper seeks to interpret and classify the genderbased interpellation of subjects in Hedayat’s stories. In doing so, the discussion at the macrolevel in this study draws on the ideas of Althusser, whereas for the analyses of textual signs on the microlevel, Goffman, Brown and Levinson’s theories have been used. The results show that the construction of location/situation of each fictional subject is, in fact, an outcome of the three layers of bodily, reactionoriented and belongingoriented interpellation. These have been expressed by narrators and fictional subjects and have, accordingly, created positive or negative faces for the subjects. Although bodies have been objectively described in bodily interpellation, the final assessment of the same bodies, as the main criterion of faceformation, is basically fulfilled through mental factors, on the basis of classical aesthetics. In contrast, due to the dominance of realism in the texts, in reactionoriented and belongingsoriented layers of interpellation, class relations, forms of consumption, and taste of subjects are among the main criteria for faceformation. Although the genderbased construction of female subjects in Hedayat’s stories, in line with the attested individuality in the contemporary world, is mainly based on personal and historical relations of subjects, its faceforming criteria have been formulated on the basis of a variety of epistemic and aesthetic factors. Extended Abstract   1. Introduction Due to the sociocultural events following the Constitutional Revolution in Iran, the forms of interpellation of human subjects and their identity construct have substantially changed, affecting the construct of subjects in fiction. Identity is made up of both fixed and changing elements, which are addressed or interpellated when they are assigned to individuals; and thus subjects are constructed. Althusser believes that the subject constructs every ideology because the function of every ideology is to turn concrete individuals into a subject. Thus, the status of the subject is created through social actions, interpellations and functions of individuals in society. In early Persian fiction, especially in that of Sadegh Hedayat, a different form of interpellation of female subjects can be seen. In the present study, a constructionist approach is adopted to interpret the gender interpellation of subjects in stories by Hedayat.   2. Theoretical Framework Interpellation is key term in Althusser’s theory. He believes that by interpellating the individual, ideology puts them in special situations and expects them to act in a specific way. Ideology, to him, is a set of discourses through which we can understand our experiences. The discussion at the macrolevel in this study draws on the ideas of Althusser, while to analyze textual signification, the ideas of Goffman, Levinson and Brown about ‘face’ have been applied. Face is an image of the self that is connected with some accepted social behavior.   3. Methodology Using a constructionist approach, the paper classifies gender interpellation of subjects in Hedayat’s stories. Moreover, the stories have been analyzed using the descriptiveanalytical approach as well as by applying some sociological theories as well as theories of the sociology of language.   4. Findings The construct of the status of the intertextual female subjects in Hedayat’s stories is formed around their body, actions and belongings. In the interpellation of female bodies, although the bodies are described objectively, classic aesthetic criteria are used to judge their attraction and beauty. In the interpellation of female characters’ actions and belongings, their social status, taste and consumption habits are relied on. In actionrelated interpellation, which mostly revolves around their way of talking, women from lower classes are mostly quicktempered and impolite, while women from upper classes are described as polite and taciturn. Also, women from lower classes mostly do menial work and have meager belongings, while the belongings of upper class women go beyond their needs.   5. Conclusion Although the whole gender construct of female subjects in Hedayat’s stories, in line with the individualism of the contemporary world, is based on the individual and historical relations of the subjects, what forms their ‘face’ is based on different types of common contemporary epistemicaesthetic criteria. On the one hand, classic aesthetic criteria serve as a basis for physical gender interpellation, and, on the other hand, the interpellation concerning their actions and belongings is based on new epistemic foundations of identity.   Select BibliographyAhmadi, B. 1387 [2008]. Resalehye Tarikh: Jostari dar Hermenotike Tarikh. Tehran: Markaz.Althusser, L. 1395 [2016]. Ideolozhi va Saz va Barghaye Ideolozhike Dowlat. R. Sadrara (trans.). Tehran: Cheshmeh.Baudrillard, J. 1393 [2014]. Nezame Ashya’. P. Izadi. Tehran: Sales.Bourdieu, P. 1393 [2014]. Tamayoz: Naqde Ejtema’ie Qezavathaye Zoqi. H. Chavoshian (trans.). Tehran: Sales.Brown, P. and S. Levinson. 1987. 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