تحلیل «قصه ی سیمرغ» در منطق الطیر بر مبنای خوانش های پَسامدرن

نظریه های جدید و کاربست این تجربه های غیربومی می تواند تازگی ها و طراوت های معنایی متون و همچنین استعداد و امکانات آن‌ها را نشان دهد و ذهن و تلقی مخاطبان نوگرا و تنوع‌طلب و اغلب جوان را، نسبت به متون کلاسیک متحول کند. دراین‌راستا می توان پست‌مدرنیسم را به‌عنوان یکی از نظریه های ادبی جدید و نیز حرکت و تلاشی برای تزلزل نشانه ها و ازدست‌رفتن قطعیت معنا و مشکوک‌شدن به روایت های کلان ادبی، فرهنگی و تاریخی تلقی کرد. داستان منطق الطیر به‌عنوان یک متن کلاسیک و تمثیلی، همواره یکی از متون برجسته، نمادین و تاثیرگذار عرفانی اسلامی در ادبیات فارسی بوده است که بیش از هر چیز بر تفکر وحدت وجودی پافشاری می کند. بررسی کل گرایانه ی قصه ی سیمرغ در منطق الطیر ازمنظر عدم‌قطعیت معنا، که مهم‌ترین ویژگی پست مدرنیسم است، ظرفیتی را فراهم می کند تا خوانندگان امروزی را با استعدادهای معنایی این متن کلاسیک آشنا کند. سوال این است که آیا می توان با توجه به عدم‌قطعیت معنا خوانشی متفاوت از قصه ی سیمرغ در منطق الطیر داشت؟ مفاهیم و گزاره هایی چون کثرت گرایی، کنش جمعی، خودشناسی و کمال گرایی جمع محور، مرگ خداوند، انتظار بیهوده بشری، به‌هم‌ریختن طبقات اجتماعی، مرکزیت زدایی از قدرت و انتشار آن، تغییر ارزش های بقا به ارزش های ابراز وجود، ادغام افق ها و سویه‌ی غیاب کلام همگی از رهاوردهای خوانش پست مدرنیستی قصه‌ی سیمرغ در کتاب منطق الطیر است.

An Analysis of the Simorgh's Tale in Mantegh al Tayr Based on Postmodern Readings

Mohammad KhosravishakibAssociate Professor of Persian Language and Literature, Lorestan University, Iran(Corresponding Author)M.khosravishakib@gmail.com   IntroductionClassical Persian literature, like other types of art, needs new facilities and talents to convince the reader; Capacities that can hold today's sensitive and diverse reader and give a convincing answer to his political, social and psychological concerns. It seems that contemporary and nonnative literary theories, which have been ironically designed to respond to the extravagance and diversity of the good reader, have the ability to revive the neglected and hidden capacities of classical works. Postmodernism and its key and special component, Uncertainty from the middle of the twentieth century until now, in various fields of art architecture, film, painting, literature, theater, calligraphy, etc. more than other approaches, debate has created contradictory academic and nonacademic backgrounds. This theory seeks, above all, skepticism in macrocultural, religious, literary, historical, political, and social narratives, as well as attempts at descriptions and new and capacitybuilding. Mantehq alTair Attar is one of the good, strong and capable works of Persian literature. This valuable book, with all the academic and nonacademic critiques and controversies surrounding it, still has the energy to make sense of convince today's readers.2. Methodology Postmodernism is one of the theories that escapes the service of hegemonic ideologies and claims to hate imitation and limiting expectations. Postmodernism is the end of macronarratives and, in general, the end of mononarrative and absolute thinking. Postmodernism favors giving way to multiple subnarratives. In this article, we have tried to reach less familiar readings of the story of Simorgh in the Mantehq alTair by applying this theory. Obviously, if we talk about the story of Simorgh, we mean that these postmodernist readings may not fit the details of the stories in Mantehq alTair and the pragmatic view of Mantehq alTair rejects such readings, but in a big way and based on the story of Simorgh and the birds, it can support and acknowledge new semantic horizons. The story of Simorgh in Mantehq alTair, as much as it has energy to establish and confirm metaphysical and mystical beliefs and interpretations, also has the necessary interpretive power and ability to be able to create doubts and hesitations in these beliefs without being accused of inaction and inaction. DiscussionMantehq alTair Attar is one of the good, strong and capable works of Persian literature. This valuable book, with all the academic and nonacademic critiques and controversies surrounding it, still has the energy to make sense of and convince today's readers. Attar, with the story of Simorgh in Mantehq alTair, seeks to teach how and describe a cultural, civic, public, and political action. At the end of the story of Mantehq alTair, when the birds realize that there is no news about Simorgh and that his presence was just a kind of imagination, a kind of dynamic realism and pragmatism arises in them and they realize that they are thirty chickens and They have to decide their own destiny, and their expectation is shaken by external godly forces and metaphysical controls. At the end of the story, the birds in Simorgh's story seek to get out of passivity and make an impact. Their collective identity in the form of Thirty Chickens has moved away from passivity and subjectivity, and they have become influential actors and actors, and the quantitative concern of the beginning of the story has finally been sublimated to the qualitative, epistemological, and cognitive concerns. The end of this story, in a dramatic and innovative way, shows the vain expectation of a group of birds who, disappointed with the existence of a cosmic and saving creature, realize that such a creature has no external existence and that their search was purely for search and futility. Birds that have grown up over the years believing that a cosmic and extraterrestrial being is thinking of managing their affairs and that its place is at the top of Mount Qaf, now realize that this creature Simorgh has no external existence at all and only it was an idea that completed their narrative of worldly life. In fact, the story of Simorgh and the birds in Mantehq alTair promotes a kind of collective authority that can be a source of real and lasting power that is productive and constructive, and integrates all capacities and civil institutions in the network of power so that it can somehow Reach a single identity and mentality; As the birds reached this unique identity at the end of the story. Thirty chickens reach Qaf Mountain and find that by removing the source of the unit of power and dictatorship Simorgh as well as the spread of power in civil institutions Thirty chickens a kind of identity and authority is produced that is more efficient, capable and durable. And can be considered a more uptodate reading of the category of power.  ConclusionMantaghalTair and its strong plot are specific texts that it is powerful and effective that it can receive different and sometimes contradictory semantic horizons and talk to countless receivers and audiences. Postmodern readings of the story of Simorgh and other birds in the MantaghalTair show that there are active and uptodate semantic allusions and implications in this story that can turn it into a transcendental hypertext. Considering the dynamism and nature of dialogue and flexibility of MantaghalTair, can be said that pluralism, collective action, selfknowledge and collective perfectionism, death of God, the absence of words and vain human expectation, The disintegration of social classes, the decentralization of power and its dissemination, the transformation of the values ​​of survival into the values ​​of assertiveness, are new semantic fields and horizons that are the product of a postmodernist and, of course, nonprofit and nonfanatical view of this. It is a unique text.Keywords: Postmodernism, MantaghalTair, Uncertainty of Meaning, Tale of Simorgh.References Ahmadi, Babak (1380). Text structure and interpretation. Tehran: Markaz Publications.Stern, J.P. (1373). Nitche. Translated by Ezatullah Fooladvand. Tehran: New Plan Publications.Athari, Seyed Hossein Hosseini, Seyed Abbas (1394). The approach to cultural change and the constructed model of the 'closed cycle of collective action' in societies benefiting from survival values: A case study of Egypt. Political Sociology of the Islamic World. Volume (2), Number (2) Pages (135155).Eagleton, Terry. (1386). An Introduction to Literary Theory. Translated by Abbas Mokhber. Tehran: Markaz Publications.Bashirieh, Hussein (1384). Revolution and political mobilization. Sixth edition. Tehran: University of Tehran Press.Beckett, Samuel. (1382). waiting for Godo. Translated by Mustafa Abedini. Tehran: Klider Publications.Taslimi, Ali (1395). Literary criticism; Literary theories and their application in Persian literature. Tehran: Akhtaran Publications.Tilly, Charles. (1385). From Basij to revolution. Translated by Ali Morshedizad. Tehran: Islamic Revolution Research Institute.Dreyfus, Hubert and Rabino, Paul. (1379). Michel Foucault; Ultrastructuralism and hermeneutics. Translated by Hossein Bashirieh. Tehran: Ney Publishing.Roberts, Jim. (1382). Beckett and the Theater of Meaninglessness. Translated by Hussein Payende. Tehran: Namayesh Publications.Nietzsche, Friedrich Wilhelm. (1384). Thus said Zoroaster. Translated by Dariush Ashouri. Tehran: Ad Publications.Harland, Richard. (1385). A historical introduction to literary theories; Translated by Shapur Jorkesh, second edition, Cheshmeh Publications.Yazdanjoo, message. (1381). Postmodern literature. Tehran: Markaz Publications.Lyoutard.  J.  (1984). The postmodernist Condition. Manchester: university press.Selden, Roman. (1989). A reader's guide to contemporary literary theory. 5 ed. Kentucky: The University of Kentucky press.