نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی کارشناسی ارشد ادبیات نمایشی، دانشگاه هنر، استان تهران
2 استادیار دانشگاه هنر، استان تهران، شهر تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Abstract
Azerbaijanis are among the pioneers of drama and theatre in the Middle East nations. Najaf Bey
Vazirov (1854-1926), the second Azeri dramatist after Mirza Fathali Akhundzadeh. He had created
five comedies, before he produced Tragedy of Fakhreddin (1896) the first tragedy written by Caucasus
Muslims. It is generally believed that Vazirov followed the dramatic style of his forefather’s
comedies, but there are evident deviations, the most important of which is rejecting Akhundzadeh’s
tendency towards a final reconciliation. This structural division is in parallel with the contrast between
comedy and satire in Northrop Fry’s genre theory, where both of them are regarded as narrative literary
genres. Comedy favors reconciliation while the aggressive spirit of satire rejects it. Satire is not
merely a genre, and is more generally considered as a mode -i.e. a way of representing charactersnamely
‘low mimetic’ in Fry’s account. This paper is reveals a sociological approach of satire in first
six plays written by Vazirov, based on concepts borrowed from the psychoanalysis of Jacque Lacan.
Based on interplay of the Imaginary and the Symbolism in ‘mirror stage’ theory, it is shown the Vazirov’s
emphasis on the ignorance of his people is intermingled with the ideological hegemony of the
Russian colonialism. Then it is shown how the possibility of a sexual satisfaction as the traditional
symbol of reconciliation in comedy, is usually hindered by a feminine character, known in psychoanalysis
as the dominance of Maternal Superego. This is interpreted as a reflection of the exclusion
of Muslim inhabitants of Caucasus from the symbolic (political and institutional) structure of their
society that is a way of ‘foreclosure’ of the ‘Name of Father’. This crisis of identity causes a chaos
that gradually disintegrates the moral and formal coherences of Vazirov’s narrative on one hand, and
leads to moral aggressiveness towards people on the other, that makes satire an imaginary subjection
of them to an indigenous institution. Finally Tragedy of Fakhreddin is interpreted as a fantasy where
the author imagines that the satisfaction of the losses has led him to satire. In summary, the author’s
approach to form and structure as a whole is interpreted as a reaction to the politico-social discriminations
imposed by the colonial conditions.
کلیدواژهها [English]
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