تحلیل و نقد کهنالگویی رمان «زیبا» با رویکرد آنیمایی
محورهای موضوعی : نقد و نظریه ادبی
مریم بای
1
*
,
شهرام احمدی
2
,
بتول مهدوی
3
,
قدسیه رضوانیان
4
1 - دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبانهای خارجی، دانشگاه مازندران، ایران
2 - دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبانهای خارجی، دانشگاه مازندران، ایران
3 - دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبانهای خارجی، دانشگاه مازندران، ایران
4 - استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبانهای خارجی، دانشگاه مازندران، ایران
کلید واژه: یونگ, کهنالگو, آنیما, رمان زیبا, حجازی.,
چکیده مقاله :
یکی از رویکردهای نقد ادبی معاصر، نقد کهنالگویی است که بر مبنای دیدگاههای یونگ، به حوزۀ نقد ادبی وارد شد. او آنیما را مهمترین کهنالگو و تجسمی از روح زنانه در زیست روانی مرد میداند که در دو نمایۀ مثبت و منفی نمود دارد. از آنجا که آثار روایی، بستر مناسبی برای عینیت یافتن بسیاری از کنشهای روانی است، بهترین بستر برای بررسی آنیما و چگونگی کنش آن است. در جستار پیشِ رو، با روش توصیفی- تحلیلی به واکاوی این کهنالگو در رمان «زیبا» اثر محمد حجازی پرداخته شده است. یافتههای این پژوهش که نخستین رویکرد کهنالگویی به این اثر است، نشان از این واقعیت داشت که آنیما در هر دو قطب مثبت و منفی، ابتدا در وجود مادرِ راوی و پس از آن در زینب، زیبا، لیلی، شاهجان و دیگر زنان اطراف او تجلی یافته است. این کهنالگو در نمود منفی هر لحظه هویدا میگردد. زیبا به عنوان شخصیت زنِ مرکزی، تمام توجه آنیمای حسین را به خود اختصاص میدهد. کمتوجهی به آنیمای مثبت، موجب عدم تعادل روانی راوی شده، او را به ورطۀ نابودی خانوادگی و اجتماعی سوق میدهد. در پایان، میرزا حسین با آنیمای خود آشتی کرده، تلاش میکند تا به شناختی درست از خود دست یابد. آنیما در این رمان، با نقشآفرینیهای متفاوت مؤید شاخصۀ تکرارشوندگی کهنالگوها بوده، یادآور این امر است که کهنالگوها، بدون محدودیت، نقش خود را در زندگی بشر ایفا مینمایند.
Archetypal Analysis and Critique of the
Novel Ziba: An Anima-Based Approach
Shahram Ahmadi **
Batool Mahdavi ***
One of the approaches of contemporary literary criticism is archetypal criticism, which entered the field of literary criticism based on Jung’s views. He considers the Anima to be the most important archetype and an embodiment of the feminine soul in the psychological life of men, which manifests itself in two aspects, positive and negative. Since narrative works are a suitable platform for objectifying many psychological actions, they are the best opportunity to examine the anima and how it acts. In the following article, this archetype in the novel “Ziba” by Mohammad Hejazi has been analyzed using a descriptive-analytical method. The findings of this study, which is the first archetypal approach to this work, showed that the anima is manifested in both positive and negative poles, first in the narrator's mother and then in Zainab, Ziba, Leyli, Shahjan, and other women around him. This archetype is revealed in its negative aspect at every moment. Ziba, as the central female character, occupies all the attention of Hossein's Anima. Lack of attention to the positive Anima causes the narrator's psychological imbalance and leads him to the abyss of family and social destruction. In the end, Mirza Hossein reconciles with his Anima and tries to achieve a correct understanding of himself. The Anima in this novel, with its different roles, confirms the recurring characteristic of archetypes and reminds us that archetypes play their role in human life without limitations.
Keywords: Jung, archetype, Anima, Ziba novel, Hejazi.
Introduction
Carl Gustav Jung was one of those who conducted extensive studies on the existence of psychic bonds between human beings and their behavioral actions. Jung believed that every artistic and verbal creation has a magical mark of the collective unconscious. By presenting amazing facts about the human psyche that divided it into three parts: the conscious, the unconscious, and the collective unconscious, he opened a new path in the field of psychological studies for researchers and enthusiasts. Such an approach led the modern psychoanalytic science to introduce the collective unconscious as an important part of the realities of the human mind, and subsequently writers such as Joyce, Proust, and Woolf paid attention to it. The results of this approach gradually drew the attention of critics in the world of literature to the field of methodological analysis literary works using psychological tools. From then on, the relationship between psychoanalysis and literature seemed to be the collision of two equal forces and the same power, and the collision of two linguistic systems and two sciences.
Today, analysts in this field have realized that these archetypal ideas are hidden images that are closely related to human experience, and that "since we should not separate the undeniable content of literature, which is human, it is only based on methods of human study and analysis that we can measure the genius and art of the artist" (Leonoff et al., 1364: 26). Despite these links and similar reflections, today we see that a psychoanalytic view of literature allows writers to become acquainted with worlds that were previously unknown to them, and on the other hand, to increase the scope of their knowledge about human examples and nature. In this way, the writer or analyst will be able to describe the motivations, emotions, and functions of the characters in the literary work.
Problem Statement
Jung considers the origin of many human actions to be in the hidden and mysterious force of a part of the psyche, which he refers to as the collective unconscious. According to such a view, "the pattern of human behavior is one of the ancient relics and remnants that have not yet been destroyed" (Jung, 1374: 151), and is located in this part of the unconscious. With this interpretation, the latent forces in the psyche can be considered as the source of the creation of a literary work. Research based on such an approach showed common characteristics that were also evident in the characters of the novels. Today, we see that the mythical-archetypal view of literature "allows writers to provide the ground for describing the motives, emotions and actions of the characters of the literary work with the help of awareness of unknown worlds and the analysis of human examples and the nature of each one" (Ghutb, 1390:381) In order to gain this awareness, Jung introduces artistic creation as the most powerful factor. In the present study, the archetype of Anima in the novel "Ziba" will be investigated and analyzed. The approach obtained from this analysis is to achieve the effects of the Anima archetype in this novel and to express the challenges that Anima is able to face the protagonist in her roles. Extracting the manifestations of Anima in this work will provide practical concepts in anthropological fields that will lead to a better psychological reflection and understanding of this important archetype. It is necessary to pay attention to the basic point that anima is an inseparable part of the psyche of men, which needs to pay attention to the grounds for its occurrence and emergence. This has led to a greater understanding of this dimension of the psyche and allows men to acquire the appropriate tools to deal with Anima. It also creates an opportunity for them to recognize the various situations and forms in which the Anima is manifested and to have a principled and constructive accompaniment with the materiality of their psyche by anticipating appropriate and timely reactions. This accompaniment is of particular importance in the process of individuality and self-knowledge of men.
Data Analysis
In the novel “Ziba” by Mohammad Hejazi, anima was examined in both positive and negative aspects. This study was conducted on the positive side of Anima with an emphasis on the mother's manifestations, choosing the right spouse, helping the rational and guiding mind, connection with nature, Anima in religious words, and Anima with the representation of animals. Also, on the negative side of Anima, manifestations such as the ominous lady, dark and dim mood and temper, doubt, wandering, and helplessness, suicidal tendencies, and the monster of death, not enjoying things, as well as pretending to be in the form of a snake, were analyzed and examined.
Conclusion
Anima is constantly projected in a feminine form with different characteristics. Mirza Hossein also becomes more and more flipped in the clutches of his anima. In line with his negative anima, he tries every way possible in order to provide a position and money for the satisfaction of a wicked woman named Ziba. His thoughts are constantly changing throughout the story, and he is unable to reconcile with his positive Anima. Such a situation also provides a shadow for activity. The shadow, with its inducing force, pushes back the deterrent and materialistic support of Sheikh Hossein's psyche and unconsciously pushes the narrator in the direction of lust. This makes him not have a very static characteristic. Due to his undeveloped self-consciousness, Sheikh Hossein passively surrenders to the shadow every time, and also his attempt to resist the dominance of negative anima, which has made the narrator's psyche suffer and incapacitated with a striking and crushing presence, remains unsuccessful. The presence of the word snake and the induction of a sense of helplessness in the story indicate the inner tension of the person to confront the dominance of negative anima. According to Jung, at this time, the man's rational mind is unable to recognize the hidden actions of the unconscious. Although the psychological wavering and choices of the narrator make the anima unable to play an effective role in the positive dimension, positive Anima also reflects itself with a high frequency and with a variety of means, including women like Maryam, Shahjan, Gitti, and Leyli emerge and manifest their devotion in order to complete the narrator's psyche. At the end of this journey of self-discovery, the protagonist recognizes his Anima distractions, comes to an understanding with it, and allows her to prove her presence. At this stage, stepping on the path of transcendence of individuality begins. The narrator tries to recognize the unbalanced and destructive components of anima and free himself from them without suppressing them. This liberation brings confrontation with the self and the attainment of individuality in men.
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*Corresponding Author: Ph.D. Student of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran,Iran.
maryam.bay.9@gmail.com
https://orcid.org/0009-0003-9355-6242
** Associate Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran, Iran.
sh.ahmadi@umz.ac.or
https://orcid.org/0000-0002-9708-361X
***Associate Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran, Iran.
b.mahdavi@umz.ac.ir
https://orcid.org/0000-0001-8421-3043
****Professor, Department of Persian Language and Literature, Faculty of Persian Literature and Foreign Languages, University of Mazandaran, Iran.
ghrezvan@umz.ac.ir
https://orcid.org/0000-0001-5502-2774
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