خوانش دلوزی از مفهوم زمان در نمایشنامه باز گشت پدر از جنگ به خانه اثر سوزان-لوری پارکز
محورهای موضوعی : ادبیات تطبیقی (فارسی- انگلیسی)
Sara Faryam Rad
1
,
Hassan Shahabi
2
*
,
Shahram Raeisi Sistani
3
1 - Ph.D. student, Department of Humanities, College of English Language and Literature, Kerman Branch, Islamic Azad University, Kerman, Iran.
2 - Assistant Professor, Department of Humanities, College of English Language and Literature, Kerman Branch, Islamic Azad University, Kerman, Iran.
3 - Assistant Professor, Department of Foreign Languages, Shahid Bahonar University, Kerman, Iran.
کلید واژه: سرگردانی, شدن , دلوز , پارکز, پدر, زمان,
چکیده مقاله :
پژوهش حاضر سعی دارد یکی از نمایش نامه های جدید سوزان-لوری پارکز بنام بازگشت پدر از جنگ به خانه، قسمتهای 1و2و3 (2015) را ازدیدگاه دلوز بر اساس مبحث زمان بررسی نماید. پارکز بعنوان یک نویسنده زن سیاهپوست، شرایط سرگردان و متلون برده های سیاهپوست را که توسط قدرت سلطه گر ایجاد شده در نمایشنامه اش ترسیم مینماید در حالیکه ارتباط بین سرگردانی آنها و مفهوم زمان و همچنین راستی و درستی وقایع تاریخی را به چالش میکشد. بعلاوه ساختار نمایشنامه به گونه ای چیدمان گردیده که لایه های مختلف از تاریخ و اسطوره، حقیقت و مجاز در کنار یکدیگر قرارگرفتها ند بنوحیکه ساختارچند وجهی کریستالین دلوز را به نمایش گذاشته است. بنابراین نظریات دلوز در باب بررسی مفهوم زمان و تصویر در فیلمهای سینمای در اینجا بکار گرفته شده اند تا تصاویر خلق شده در نمایشنامه پارکز خوانده و تفسیر گردند. این مقاله پس از بحث و بررسی نمایشنامه پارکز از دیدگاه دلوز به این مهم میرسد که شخصیت پردازی پارکز در راستای شدنی متفاوت بعنوان راهی برای تقابل با قدرت سلطه گر بکارگرفته شده است. بدنهای بدون هویت، که توسط استعمارگر ایجاد گردیده اند، اکنون به پرسمان حقیسقت وقایع تاریخی و اساطیر غرب، همانگونه که در کتب تاریخی سفیدپوستان درج شده، پرداخته اند.
The present study has aimed to read one of Suzan-Lori Parks’s recent plays, Father Comes Home from the Wars, Parts 1,2&3, from new aspects borrowing Deleuzean notions about time. Parks, as a postmodern female black playwright, depicts her main concern about the ambivalent condition of black characters, caused by the dominant power, while the relationship between their ambivalency and the meaning of time is palpable; however, the reality of time and the historical past events are put into question as well. Besides, Parksean structure of the play illustrates different layers and an amalgamation of actual and virtual, history, fantasy and mythology, representing Deleuzean multi-layered and multi-dimensional crystallized structure. In this regard, Deleuze’s accounts, mainly focused on exploring time and their relation to image in the cinematic world, are utilized to read the theatrical images dramatized in Parks’s play. The article concludes that, by finding traces of Deleuzean philosophical notions, Parksean dramatization of the black characters has been shaped by Deleuzean becoming different as a way of resisting the dominant power. The Bodies without Organs, created by the ambivalency imposed by the hierarchical system, now enquir about the reality of the White historical and mythological events to mark the black place in Western historiography.
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