تحلیل ساختاری داستان «ضحاک» بر مبنای الگوی منطق نقش‌های کلود برمون

ساختارگرایی کوششی برای کاربرد نظریه‌ زبانی در زمینه‌ موضوعات و فعالیت‌های غیرزبانی است. یکی از جنبه‌های موفقیت ساختارگرایانْ روایت‌شناسی یا بررسی روایت ‌است. این گروه از ساختارگرایان با بررسی عناصر روایت و قوانین ترکیب آن توانستند ساختار حاکم بر اشکال روایی را واکاوی کنند.در این مقاله یکی از روایت‌های اساطیری شاهنامه، ضحاک ماردوش، براساس نظریه‌ کلود برمون، روایت‌شناس ساختارگرای فرانسوی، بررسی می‌شود. برمون پی‌رفت را عنصر اساسی روایت روایی می‌داند. الگوی او بر مبنای رویکرد دوگانه پیروزشدن یا پیروزنشدن قهرمان بنا شده است. در این الگو قهرمان لزوماً همیشه پیروز نیست و ممکن است گاهی شکست خورد. هدف این پژوهش تحلیل طرح روایی روایت ضحاک با الگوی کنشی برمون است. در این مقاله با روش توصیفی  تحلیلی، روایت بررسی شده ‌است. پس از بررسی این نتیجه به دست آمد که روایت طرح روایی نظام‌مند دارد و از شیوه‌ روایت به‌صورت خطی بهره برده است؛ همچنین با یک موقعیت پایدار و متعادل اولیه آغاز می‌شود؛ سپس حادثه‌ای این تعادل و توازن را برهم می‌زند؛ سرانجام با به وجودآمدن کنش‌هایی برای حل مشکل، روایت به یک نتیجه‌ مشخص و موقعیت پایدار اولیه بازمی‌گردد. طرح روایی روایت مطابق با نظریه‌ برمون، متشکل از پی‌رفت‌ها یا ترکیبی از جریان روایی و کشمکش است. هر پی‌رفت سه کارکرد امکان و فرایند و پیامد دارد. در روایت، هر دو نوع شخصیت منظور برمون کارگزار (فاعل) و کارپذیر (مفعول) و تغییر موقعیت آنها برپایه‌ کنش را می‌توان دید.

Structural Analysis of Zahak’s Story based on Claude Bremond’s Pattern of Action

Abstract Structuralism is an attempt to apply linguistic theory to nonlinguistic subjects and activities. In this paper, the narrative of Zahak Mardush is examined based on the theory of Claude Bremond, the French structuralist narrator. Bremond considers sequence to be an essential element of narrative. His model is based on the dual approach of winning or not winning the champion. In this paper, the narrative has been analyzed by a descriptiveanalytical method. After examining it, it was concluded that the narrative has a systematic design and has used the method of narration linearly.   Introduction Structuralism was introduced in France in the 1950s and 1960s and was based on the assumption that if human actions and achievements are meaningful, so there must be a system of distinctions and relations between units of action and production that allows the presence of meaning (Ahmadi, 1992). Statement of the Problem Understanding the narrative function of Zahak’s story based on Claude Bremond’s Narrative Theory. Research Questions 1. How can Zahak’s narrative structure be interpreted in terms of Claude Bremond’s components? 2. Which procedures, events, and processes contribute to the systematization and coherence of the narrative? Research Purposes Understanding the narrative structure of the narration, Understanding the fundamental relationships between the narrative elements and the systematic structure of the narrative. Literature Review any articles have been written on the story of Zahak. Tabassi and Tavousi (2005) in the article ‘Zahak Mardoush in Ferdowsi’s Shahnameh’ have investigated this narrative in two axes of alternation of darkness and illumination, and punishment of sinners. Shafi’i and Ghobadi (2017), in their paper ‘SemioticSemantic Analysis of Zahak’s and Fereidun’s Narrative Discourse based on the Theory of Grimes’, have examined this narrative in the form of the Grimes’ action diagram.   Material Methods Narration Scholes and Claught define the narrative as follows: “All literary texts which have the two characteristics of storytelling and the presence of the storyteller can be considered as a narrative text” (as cited in Okhovat, 1993, p. 36). Narrative history is divided into three periods: the prestructuralist period (until 1960), the structuralist period (from 1960 to 1980), and the poststructuralist period (Makaryk, 2005, p. 149). Poststructuralism involves a critique of metaphysics, and concepts such as causality, identity, subject, and truth (Sarup, 2003, p. 1113). Story Analysis Zahak’s narrative, based on Bremond’s theory, consists of three sequences with three functions. The First Sequence (first phase of effective action) 1. The prestigious Mardas Shah has a son of unreason named Zahak. 2. One day Iblis comes to Zahak and promises him not to talk to anyone about his sinister plan and nurtures the wish of becoming king in his head. To reach this position, Iblis forced him to kill his father. 3. Zahak kills his father to reach the kingdom. The Second Sequence (Second Phase of Effective Action) 1. Zahak sits on the throne of the kingdom. 2. People have been saddened by the oppression of Jamshid. They come to Zahak and ask him to redress them. 3. Eventually, Jamshid was arrested by Zahak and was bisected with a saw. Third Sequence 1. The reign of Zahak. 2. Killing many people to use their brains for feeding his snakes, exhaustion of people, entering Kaveh into Zahak’s palace, Kaveh’s uprising against Zahak, and calling for Fereidon. 3. Fereidon enters the Zahak palace, Zahak being tied in Mount Damavand.   Discussion of Results Conclusions In this paper, the linearity of time and the simplicity of the narrative scheme led the authors to identification of some sequences in the text. The phases of action were distinguished based on causal relationships. Each of these phases had three functions: 1) potentiality or the ability of the narrative in causal relation of sequences; 2) the process phase, or the way in which the narrative proceeds perfection; 3) the outcome phase, which deals with the final plot of the narrative and the main characteristics of the narrative hero. Analyzing each phase of the effective action, the reader finds out that the hero is not always victorious, as seen in the first and second sequences of the analysis. Zahak who is one of the most hated figures in the Shahnameh won over Mardas whom Ferdowsi as being ‘Prestigious’ and ‘Beloved’, and even Jamshid who was called the monarch of the Golden Age.