خوانش اسطوره‌ای رمان گرافیکی رستم در هفت‌خوان با رویکرد سفرقهرمان جوزف کمبل

بازتاب اساطیر در داستان‌های حماسی و کهن ایرانی مانند شاهنامه و انتقال بن‌مایه‌های آن، زمینه‌ساز پیوند رمان‌های گرافیکی با روایت‌هایی از میراث ارزشمند گذشته است. یکی از این روایات، سفر رستم در هفت‌خوان شاهنامه است که حوادث این سفر از منظر اسطوره‌‌شناسی با مولفه‌های کهن‌الگویی سفرقهرمان کمبل (عزیمت، تشرف و بازگشت)، قابل تحلیل است. از این رو، در مقاله‌ حاضر نگارندگان با هدف خوانش تصاویر ترسیم‌شده در رمان گرافیکی رستم در هفت‌خوان با رویکرد سفر قهرمان جوزف کمبل، به این پرسش پاسخ ‌می‌دهند که تصویرهای ترسیم‌شده در این رمان گرافیکی، تا چه اندازه ظرفیت پذیرش الگوی سفرقهرمان جوزف کمبل را با تاکید بر بخش تصویری این نظریه دارد؟ مقاله حاضر به روش توصیفی- تحلیلی برروی تصاویری از خوان‌های رستم با گردآوری مطالب به‌صورت کتابخانه‌‌ای و اسنادی و تحلیل آن‌ها به نگارش درآمده‌است. الگوی سفرقهرمان جوزف کمبل به‌عنوان رویکردی نظری و مراحل سه‌گانه آن به‌عنوان متغیر این پژوهش به کار رفته شده‌است. همچنین یافته‌‌های پژوهش نشان می‌‌دهد، ترسیم دقیق رخدادها و هماهنگی تصاویر با فضای کلی داستان سبب شده‌ تا رمان گرافیکی موردِ بررسی با تاکید بر بخش تصویری مولفه‌های سفرقهرمان کمبل، برای درک بهتر مخاطب از مراحل اصلی و فرعی آن، ارتباط معناداری پیدا کند.

mythological reading of graphic novel of rostam’s seven labours with the approach of joseph campbell’s hero’s journey

a huge part of iran’s epic literature originates from fairy tales and folk tales. one of the research indicators related to these stories is mythological studies. in other words, a myth is a story within the framework of mythology, that is, a system and a coherent collection of old inherited stories that were once seen by a group of real people. stories based on the intentions and actions of supernatural beings explained why things are the way they are and why things happen the way they do. on the other hand, the reflection of mythology in ancient iranian epic stories such as the shahnameh and the transmission of its themes is the basis for the connection of graphic novels with narratives of the valuable heritage of the past. one of these narratives is rustam’s seven labours in shahnameh, the events of this journey can be analysed from the point of view of mythology with the archetypal components of campbell’s hero’s journey (departure, visit and return). from joseph campbell’s point of view, the discovered and understood archetypes are actually those that have evoked mythological, inspirational and ritual images throughout human history and culture. but they should not be confused with the personal symbolic figures that appear in the nightmares and agitations of the anxious person. based on this, campbell researched and researched the hero and finally created the result of his work in a book titled the hero with a thousand faces . according to him, all texts and mythologies of the world’s heroism have a single narrative structure, and he has considered a core that includes the three parts of departure, appreciation and return, for all texts and mythologies of the world’s heroism. therefore, from campbell’s point of view, a hero is someone who masters his personal or native characteristics and transcends them to reach a useful and usually human form. therefore, the steps of campbell’s hero’s journey are as follows: departure, indicates a campaign to find a person or a charm or a charm that after its acquisition and return, fertility is restored to a barren land. the destruction of this land is a reflection of the illness and incapacity of its leader. in order to save his country, get his beautiful and favourite lady and prove his identity in order to establish his rightful status, the protagonist must do some extraordinary actions. honour, usually means to enter life and is used to describe a teenager who reaches the stage of maturity and maturity. such a person faces many problems and responsibilities in the process of growth. awakening, awareness and more knowledge about the world and the people who live in it, usually forms the culmination of this archetypal situation. on his return, after finding the charm, the hero returns to his land to cure the drought. for each of these three stages, campbell has stated other stages as its subset, which include the first stage: departure or separation including invitation to the adventure and rejection of the invitation, unseen assistance, crossing the first threshold, the belly of the whale. next stage: honour ritual including the road of tests, meeting with the goddess, the woman in the role of temptress, reconciliation with the father, turning into god and the final blessing. the final stage: return including refusal to return, magical flight, saving hand from outside, crossing the threshold of return, master of two worlds, free and loose in life. campbell calls this repetitive structure a journey. in this regard, in this article, the authors, with the aim of reading the images drawn in rostam’s seven labours graphic novel with the approach of joseph campbell’s hero’s journey, answer the question whether the images drawn in this graphic novel have the capacity to accept the model of joseph campbell’s hero’s journey?