معنایابی روایت تابلوی «لوح» هانیبال الخاص از منظر رمزگان روایی رولان بارت

معنایابی، صورت فاعلی معنا و به معنای کاوش و یافتن معنا در پسِ فرآیند تاویلی گذار از دال به مدلول و بنابراین وابسته به روایت است. روایت نیز در کل مفهومی زبانی برای دست‌یابی به نظام حاکم بر متن و به ویژه شناسایی واحدهای عملکردی حاکم بر کارکردهای روایی متن (و هر اثر هنری به مثابه متن) برای تحقق معنا بوده که ابتدا ساختارگرایان با مطالعه صورت و ساختار متن پیرامونِ آن نظریه پردازی نمودند. رولان بارت از جمله نخستین نظریه پردازان ساختارگرا بود که با بنیان نهادن نظریه «رمزگان روایی» مشتمل بر پنج رمز (به ترتیب) هرمنوتیکی، معنایی، نمادین، کنشی و فرهنگی خوانش معناهای ممکن متن را روشمند ساخت. در همین راستا، هدف مقاله حاضر تعمیم روش خوانش مذکور به حوزه نقاشی و اتکا به رمزگان روایی برای معنایابی تابلوی «لوح» هانیبال الخاص(1319- 1389 ه.ش) است. الخاص از زمره نقاشان نوگرای ایرانی بوده که به طور کلی آثارش مبتنی بر روایت و به طور ویژه تابلوی «لوح» وی دارای خصیصه هایی صوری مانند دو لته بودن، وجود نقش مایه های نمادین و عناصر فرهنگی است که معانی آن از رهیافت تحلیلی امکان‌پذیر است بنابراین می طلبد به روش توصیفی و با توجه به منابع کتابخانه ای به معنایابی آن پرداخت. در نتیجه، معنایابی پژوهش حاضر مضمون های معنایی همچون جاودانگی، آرمانگرایی و تکامل و موارد مشابه قابل دست‌یابی است.

the semantics of hannibal alkhas’ narrative of “tablet” tableau from the perspective of roland barthes’ narrative codes

semantics refers to searching for a final signified behind a text or exploring a semantic layer in each text in a process-oriented (rather than a product-oriented) framework. from a process-oriented point of view, a text is not limited to some deterministic meaning(s); instead, it involves a situation in which a reader can, during the reading, contribute to the production of meaning(s). thus, in a process-oriented approach to the text, the reader is, on one hand, regarded as the subject of meaning, and the text is, on the other hand, as the context for the meaning only if there is a processed narrative. for this, a text is based on a narrative, which involves functional units governing systematic narrative functions of signs.throughout history, various definitions were introduced about narratives, the most important of which relates to twentieth-century structuralists and roland barthes in particular.to barthes, the narrative is characterized by exchange, i.e., narrative as the subject is the basis of communication; thus, a receiver and a sender are required. as a result, a narrative cannot exist without a narrator or a hearer. although the narrator’s motives or narrative effects on the reader are not the main issues, an explanation of codes that give meaning to the narrative is the main object of a literary theory on narrative. for this, barthes argues that narrative is a narrative code such as language which is recognized through a system of signs (semiotics). the system of signs first comes together at the level of functions and actions to finally establish a meaningful semantic communication at the narrative level between the narrator and the reader.the identification of the textual system of signs and foundations of the narrative was mainly performed by structuralist theorists in the second half of the twentieth century. among the structuralists, roland barthes’ narrative codes theory was used as the basis for the semantics of hannibal alkhas’ work “tablet” due to its comprehensive attitude to narratives compared to other structuralists’ semiotic theories.hannibal alkhas (1930-2010) was a modernist iranian painter and the pioneer of figurative design in modernist painting. he has numerous works, and his work of art, “tablet,” has been selected to be investigated for highlighting his distinctive and personal language compared to other modernist artists and characterizing his artistic features. tablet is a two-part work of art involving symbolic motifs, attention to mythological motifs, and cultural elements, resulting from particular attention to formal elements, especially the element of “shape.” the goal of the present study is to gain the visual form of the work “tablet” and realize possible meaning(s) of the text under investigation through roland barthes’ narrative codes theory. narrative codes include five codes of hermeneutic, connotative, symbolic, proairetic, and cultural, which barthes found while analyzing the story “sarrasine” by honoré de balzac in 1970.narrative codes refer to measures for our narrative. in other words, a narrative is realized through the narrative codes approach (based on a signifier and signified system), resulting in a process-oriented re-writing of the text under investigation. therefore, it is critical to define barthes’ five narrative codes, which include hermeneutic, connotative, symbolic, proairetic, and cultural. however, before defining them, it is essential to say that by codes, “it is meant a system of signs that generates a certain meaning and includes a set of signs and rules