تحلیل و مقایسه‌ی کارکرد پدیدارشناسی هوسرلی در نظریات و بوطیقای تصویر شعر یدالله رویایی

شعر حجم (حجم‌گرایی) یکی از جریان‌های شعری معاصر است که اولین تظاهرات فردی‌اش را در سال‌های 1346 و 1347 در دفتر دلتنگی‌های یدالله رویایی و نمک و حرکت ورید پرویز اسلامپور به‌جای گذاشت و سرانجام پس‌ از انتشار بیانیه‌ی آن در زمستان 1348 جایگاه و حرکت گروهی خود را در گفتمان شعری روزگار تثبیت کرد؛ اما متن این بیانیه و نظریه‌ی شعری حجم پیچیدگی‌هایی دارد که هنوز با گذشت سال‌ها مباحث و مناقشاتی پیرامون آن‌ها شکل می‌گیرد. یدالله رویایی که چهره‌ی شاخص این جریان است، در طول زمان تلاش کرده است تا با آثار خود به ظرفیت‌های فلسفی، زبانی و زیبایی‌شناسانه‌ی آن عینیت بخشد. از میان این ظرفیت‌ها، پدیدارشناسی هوسرلی از برجسته‌ترین و اثرگذارترین وجوه معرفت‌شناختی بر این نوع از شعر و به‌ویژه اشعار یدالله رویایی به ‌شمار می‌آید و خود شاعر نیز مدت‌ها پس‌از انتشار بیانیه‌ی آن بر اثرگذاری این مبنای فلسفی بر شعر حجم صحه گذاشته است. نگارندگان این پژوهش با نظر به این مبنای فلسفی درتلاش‌اند تا با پیش‌فرض وجود چنین تاثیری، به تحلیل و مقایسه‌ی کارکرد آن در نظریات و بوطیقای تصویر شعر یدالله رویایی برآیند و به بررسی دو پرسش اساسیِ چگونگی جدایی نظریه‌ی شعر حجم از پدیدارشناسی هوسرلی و چگونگی کارکرد آن بر بوطیقای تصویر شعر این شاعر بپردازند.

Analysis and Comparison of the Function of Husserl’s Phenomenology in Yadollah Royai’s Theories and Image Poetry

Spacement poetry has proved its situation in contemporary Iranian poetry after publishing it’s manifest in winter of 1348. Yadollah Royai, the prominent figure of this stream has also tried during time to practice it’s different lingual, philosophical and aesthetic bases. This approach has always been a Subject for debate, for its own ambiguity in manifest and theorical discussions. One of the reasons for this ambiguity is the effect of Husserl’s phenomenonlogical philosophy. After publishing its manifest, Royai has confirmed this impact. Accordingly studies show that there is a deep correlation between spacement poetry and phenomenology. phenomenonlogical concepts such as superior I, Epoche, phenomena, conscious expriences and so on are easy to be understood when the poet has used them. in his ideas, in form of suspicions  Dekartic I, putting preassumptions in paranthesis, imagining a supernatural world, the audience creations in conference with spacement imagination mechanism and the like these themes and concepts have been used in Royai’s ideas and have been effective in the connection between spacement poetry and Husserl’s phenomenology, ambiguities, And the complications of the manifest and the poets ideas.Research method, History and the Research purposeThis research has followed liberary method in which the writers have read the references and have taken notes and use them in there essay.the most important references could help the writers include:“from epoche to poetic innovations: pathology of using phenomenological approach in Literary studies in Persian Language”, ”the hidden face of the Word”, ”the phenomenology of a spacement”, “the poetic of spacement poetry who is Yadollah Royai and what does he say?”, “the poem of our time/12”, “explanation of the margin”, “the contemporary streams of Persian poetry”, “unseen mases”. “Deconstruction in spacement poetry”, “theorical bases of spacement poetry and Royai’s Labrikhteha”, “A study on the form and the Content of a spacement poetry with some interpreations”, “spacement poetry stream”, “a study on  Yadollah Royai’s works according to spacement poetry manifest”.Considering philosophical bases of spacement poetry, the writers aim to understand, analyze and compare between the connections, structures, and  Husserl’s phenomenological similarities and spacement phenomenology and ultimately illustrate it’s practical function in the poetic of image in spacement poetry. Accordingly, they have examined the following two fundamental questions: first,  the howness Obvious separation of Poetic theory of spacement and Husserl’s phenomenology and second, the howness of its function in the poetic of images in Yadollah Royai’s poetry.Discussion Without understanding Husserl’s  phenomenology,  It is not possible to understand the different phenomenological levels of spacement and it’s imagination mechanism. Therefore, what is important is to achieve a relationship between these two issues, leaded to an ambigous action.  Here, Royai writes about &arriving to some instant causeless understanding and of a degree Of the absolute that cannot be passed& (Royai, 1396: 89).  This illustrates a technical aspect of supreme retation of Husserl’s philosophy.  He discusses the being Dekart “I” in paranthesis and he changes the famous sentence of Dekart &I think, so I am& into &I think, so it does not exist&. This way he not only expresses new poetic thoughts of fundamental concepts of Husserl’s phenomenology, but also he approaches the Husserl’s  transcendental Ego. Also, He continues that the poetic of spacement poetry seperates that super man from the world and it’s phenomena. The poet creates images in epoche and he wants to destruct the paranthesis and its content, but this imagination can somehow be suitable with some images of conscious experiences, such as imagination, tendency and so on. He also approaches some other Husserl’s phenomenological concepts, for example, in explaining the distances, the texture of images of spacement poetry and the audiences Creations in encounter with the spacement imagination mechanism and ultimately arriving to a fundamental unity of various experiences. So, in the Vast field of scepticism of the spacement phenomenology, in striking Husserl’s philosophical system, the expanded bases of this rivival and the independant identity are last. In Royai’s thoughts, the audience always faces Husserl’s philosophy and a statements and when it comes to comparison, he will find out more similarities between a spacement poetry and Husserl’s philosophy.Here is an example of Husserl’s phenomenological