دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 6 20 2026 06 22 Sites of Memory in Iranian Cinema on Palestine Within the Framework of Pierre Nora’s Theory: A Case Study of Five Iranian Feature Films on Palestine «خاطره مکان» در فیلم‌های فلسطینی سینمای ایران، در چارچوب آراء پیر نورا مطالعه موردی 5 فیلم سینمای ایران با موضوع فلسطین 7 20 735856 10.22034/rpa.2026.2076838.1201 FA پیام فروتن یکتا استادیار، گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران 0000-0003-0561-4581 سید رضا فاطمی دانشجوی کارشناسی ارشد، رشتۀ سینما، دانشکدۀ هنر، دانشگاه بین‎المللی سوره، تهران، ایران Journal Article 2025 11 07 Pierre Nora’s seminal theory of Lieux de mémoire (sites of memory) emerged as a critical response to the accelerated pace of modernity and the consequent rupture from living traditions. He posits that pre-modern societies were embedded in “milieux de mémoire” (environments of memory)—organic, unselfconscious social frameworks where tradition was continuously and naturally transmitted through rituals, oral histories, and lived experiences. Modernity, with its dislocating forces of revolution, industrialization, and globalization, has shattered these environments. What remains, Nora argues, is not lived memory but a self-conscious, archival, and prosthetic form of remembrance. In this void, societies consciously construct “sites of memory”—be they material (monuments, museums), symbolic (commemorations, flags), or functional (archives, manuals)—to anchor a collective identity that is no longer spontaneously sustained. These sites are deliberate bulwarks against collective amnesia, serving as intentional, often contested, anchors for a past that is in danger of being forgotten or distorted. This study adopts and expands Nora’s framework to analyze a distinct corpus: five Iranian films that take the Palestinian experience as their central subject. It argues that these cinematic works function as potent, contemporary “sites of memory,” consciously constructed to combat the dual threats of forgetting and the political-cultural distortion of Palestinian history. By strategically reconstructing memory within urban landscapes, rituals, and objects, these films do not merely document history but actively produce a narrative of resistance and identity preservation. Furthermore, this analysis incorporates nuanced concepts like “memory contact,” “memory knots,” and the “creolization of memory” to dissect the specific mechanisms through which this cinematic remembrance operates, acknowledging the transnational and hybrid nature of this memory work. While Nora’s theory provides the foundational architecture, this research employs several supplementary concepts to refine its application to cinema: a) Sites of Memory (Lieux de mémoire): the core concept. In this context, the films themselves become macro “sites,” while within their diegesis, specific elements (a key, a ruined house, a ritual) function as micro-sites. b) Memory Contact: This concept describes the points of interaction and negotiation between different memory traditions. Iranian cinema about Palestine is a prime example of “memory contact,” where an Iranian cinematic and political lens engages with the Palestinian national narrative. This is not a simple act of ventriloquism but a creative, often strategic, alignment of memories of resistance and displacement. c) Memory Knots: Drawing on the work of scholars like Michael Rothberg, this idea refers to dense constellations where multiple memory threads—personal and collective, traumatic and triumphant—intersect and become entangled. A single cinematic object, like a character’s heirloom, can act as a “knot” tying together the memory of the 1948 Nakba, personal loss, and the ongoing struggle. d) Creolization of Memory: This concept, akin to Astrid Erll’s notion of “travelling memory,” highlights how memories migrate, cross cultural borders, and blend with local narratives. The Palestinian story, as told through Iranian cinema, undergoes a process of “creolization.” It is inflected with the aesthetics, religious symbolism (particularly Shia iconography of martyrdom and injustice), and political discourse of the Iranian Revolution, creating a hybrid, transnational memory narrative that resonates with specific audiences. The analysis of the five films reveals a sophisticated deployment of various types of mnemonic sites as follows: Urban Landscapes as Palimpsests of Memory: The films frequently use the city—whether a refugee camp evocatively recreated on a set or a generic Middle Eastern urban space—as a palimpsest. In these spaces, the past is never truly erased. Scenes often depict characters navigating ruins, alleyways, and checkpoints that bear the physical and psychological marks of history. with history. These are not generic backdrops but active narrative agents. They spatialize memory, making the abstract trauma of displacement tangible. The cinematic city becomes a site where the lost homeland is continuously remembered and re-imagined, resisting its physical and historical erasure. Objects as Mnemonic Triggers and Testimonials: Objects carry an immense mnemonic weight. The most potent example is the key—a universal symbol of the Palestinian Right of Return, representing the keys to homes lost in 1948. When featured in a film, a key is not merely a prop; it is a condensed site of memory, embodying hope, loss, and intergenerational transmission. Similarly, old photographs, deeds to land, and traditional embroidery function as tangible evidence of a past that others seek to deny. These objects act as “memory knots,” where personal family history becomes inseparable from the national narrative. Rituals and Commemorations as Performative Memory: The films heavily utilize ritualistic spaces—mourning ceremonies, political rallies, and religious gatherings (like Ashura). These sequences function as performative sites of memory. Through chanting, eulogies, and collective grief, they re-enact and re-live the foundational traumas of the Palestinian struggle. This ritualization connects the Palestinian narrative to a deeper, archetypal narrative of martyrdom and resistance within Shia Islam, a clear example of “creolization.” This fusion strengthens the emotional and ideological resonance for the intended audience, transforming historical fact into sacred, repeatable memory. The Human Body as a Living Archive: The characters themselves become sites of memory. The aging refugee’s body, scarred by war, or the young fighter’s resolve, etched on his face, serves as a living testament to history. Their stories, told in flashbacks or monologues, are the embodied transmission of memory from one generation to the next, resisting the silence that oppression imposes. A crucial counterpoint in this study is Masoud Kimiai’s The Lead, which stands as a notable exception. Instead of constructing sites of memory, the film stages their deliberate and systematic erasure. It portrays a world where traces of the past are obscured, documents are destroyed, and witnesses are silenced. This creates a pervasive atmosphere of historical suspension and an identity unmoored from its foundational past. The protagonist’s struggle is not to preserve memory but to navigate a present devoid of coherent historical reference points. By depicting this memory vacuum, The Lead performs a vital function: it highlights the fragility of memory sites themselves and serves as a powerful cautionary tale. It underscores the high stakes of the mnemonic project and makes the constructive efforts of the other films appear even more urgent and necessary. Ultimately, this analysis demonstrates that Iranian films about Palestine are far more than political propaganda or simple acts of solidarity. They are sophisticated cultural artifacts that function as active “terrains of memory.” They exemplify how, in the absence of organic “milieux de mémoire,” cultural production becomes a vital, conscious technology for safeguarding and transmitting collective remembrance. By evoking the past through reconstructed sites, rebuilding a cohesive identity through symbolic elements, and symbolically resisting erasure through narrative, these films create a durable, transnational memory space. They reframe the Palestinian struggle through a specific Iranian lens, a process of “memory contact” and “creolization” that produces a hybrid yet powerful narrative of resistance. In doing so, Iranian cinema does not just tell a story about Palestine; it actively participates in the global struggle over memory, affirming that who controls the past often dictates the possibilities for the future. سینمای ایران در مقاطع مختلف تاریخی، مسئله فلسطین را دست‎مایۀ خلق آثاری قرار داده که بازتاب‎دهندۀ دغدغه‎های سیاسی، تاریخی و انسانی هستند. درون‎مایۀ این فیلم‎ها اغلب تلفیقی از مضامین مقاومت، رنج، تبعید و پایداری است. بااین‎حال، آنچه در رویکرد بسیاری از این آثار برجسته می‎نماید، پرداختن به ابعاد هویتی، حافظه و خاطرۀ جمعی فلسطینیان است. پژوهش حاضر با اتکا به نظریۀ «مکان‎های حافظه» پیر نورا ـ که در پاسخ به گسست‎های ناشی از مدرنیته و زوال «محیط‎های حافظه» سنتی شکل گرفته است ـ به تحلیل چگونگی بازنمایی حافظۀ جمعی در پنج فیلم ایرانی با موضوع فلسطین می‎پردازد. بر اساس نظریۀ نورا، در شرایطی که حافظۀ زیسته به‎طور طبیعی تداوم نمی‎یابد، جامعه برای مقابله با فراموشی و حفظ هویت خود، به ساخت فضاها و نمادهایی روی می‎آورد که کارکرد تثبیت، انتقال و مقاومت حافظه را بر عهده دارند. این مطالعه با بهره‎گیری از مفاهیم نوین و تکمیلی مانند «تماس حافظه»، «گره حافظه» و «کرئول‎سازی حافظه»، نشان می‎دهد که سینمای ایران چگونه از طریق بازآفرینی مکان‎های حافظه در فضاهای شهری ـ نظیر بازسازی خانه‎های ویران‎شده، محله‎های قدیمی و مکان‎های نمادین ـ استفاده از اشیاء خاطره‎انگیز مانند کلید خانه، عکس‎های خانوادگی، یادداشت‎ها و اسناد شخصی و همچنین تأکید بر عناصر هویتی، شامل پوشش سنتی و موسیقی بومی و نمایش فضاهای آیینی و جمعی، نظیر مراسم سوگواری، جشن‎ها و گردهمایی‎ها، به بازسازی روایت‎های جمعی می‎پردازد. این پژوهش با اتخاذ رویکردی کیفی و از رهگذر به‎کارگیری تحلیل مضمون، تحلیل بصری و ارزیابی طراحی صحنه در پنج فیلم منتخب صورت گرفته است. یافته‎ها نشان می‎دهند در چهار فیلم بازمانده، شکارچی شنبه، آتش پنهان و بیگانگان، ترکیب بازنمایی فضاهای بازسازی‎شده، اشیای خاطره‎محور و مناسک جمعی، به شکل‎گیری تماس‎های حافظه می‎انجامد؛ تماس‎هایی که در آنها حافظۀ تبعید و اشغال فلسطینی با حافظه‎ها و روایت‎های دیگر رنج و مقاومت ـ از جمله حافظۀ یهودیان و مسیحیان تبعیدی یا مهاجر ـ در هم تنیده می‎شود و شکل‎های هیبرید و کرئول‎گونۀ حافظه را پدید می‎آورد. در مقابل، سرب با برجسته‎کردن حذف نشانه‎ها، تخریب شواهد و تعلیق روایی، نه به تثبیت مکان‎های حافظه، بلکه به نمایش منطق محو و فرسایش حافظه می‎پردازد و بدین‎ترتیب، به عنوان استثنایی ساختاری، بی‎مکانی و تعلیق حافظه را برجسته می‎کند. بر این اساس، مقاله استدلال می‎کند که فیلم‎های ایرانی با موضوع فلسطین صرفاً بازنمای رنج و مقاومت نیستند، بلکه از رهگذر فرایندهای تماس و کرئول‎سازی حافظه، میدان‎هایی میان‎فرهنگی ایجاد می‎کنند که در آنها روایت‎های اشغال، تبعید و تبعیض با کدهای روایی و بصری سینمای ایران مفصل‎بندی شده و صورت‎بندی‎های تازه‎ای از همبستگی و هویت یادمانی شکل می‎گیرد؛ صورت‎بندی‎هایی که هم امکان قابل‎دیدن‎شدن حافظۀ فلسطین را فراهم می‎کنند و هم، به‎ویژه در آثاری چون سرب و شکارچی شنبه، محدودیت‎ها و تنش‎های این پروژۀ حافظه‎سازی را آشکار می‎سازند. بر اساس نظریه نورا، در شرایطی که حافظه زیسته به طور طبیعی تداوم نمی‌یابد، جامعه برای مقابله با فراموشی و حفظ هویت خود، به ساخت فضاها و نمادهایی روی می‌آورد که کارکرد تثبیت، انتقال و مقاومت حافظه را بر عهده دارند. این مطالعه با بهره‌گیری از مفاهیم نوین و تکمیلی مانند «تماس حافظه»، «گره حافظه» و «کرئول‌سازی حافظه»، نشان می‌دهد که سینمای ایران چگونه از طریق بازآفرینی مکان‌های حافظه در فضاهای شهری - نظیر بازسازی خانه‌های ویران شده، محله‌های قدیمی و مکان‌های نمادین - استفاده از اشیاء خاطره‌انگیز مانند کلید خانه، عکس‌های خانوادگی، یادداشت‌ها و اسناد شخصی و همچنین تأکید بر عناصر هویتی، شامل پوشش سنتی، لهجه، غذاهای محلی و موسیقی بومی و نمایش فضاهای آیینی و جمعی، نظیر مراسم سوگواری، جشن‌ها و گردهمایی‌ها، به بازسازی روایت‌های جمعی می‌پردازد. نتایج این تحلیل حاکی از آن است که این عناصر در کنار یکدیگر، سازوکار نمادین مقاومت در برابر فراموشی و تحریف حافظه را تشکیل می‌دهند. مکان‌های حافظه در این فیلم‌ها تنها صحنه‌ای برای مرور گذشته نیستند، بلکه بستری پویا و فعال برای احضار خاطره، بازتعریف هویت و تقویت گفتمان مقاومت را فراهم می‌سازند. این آثار با روایت‌پذیر کردن مبارزه علیه محو و انکار، حافظه را به مثابه عرصه‌ای برای پایداری نمادین به تصویر می‌کشند. در نهایت، سینمای ایران با تبدیل «مکان‌های حافظه» به کانون بازنمایی یک تجربه فلسطینی ناب، نه‌تنها به بازتولید روایت تاریخی می‌پردازد، بلکه در تقویت حس تداوم و همبستگی در برابر روایت‌های مسلط و تحریف‌شده نیز به ایفای نقش ایفا می‌پردازد. این فیلم‌ها از طریق بازنمایی حافظه جمعی، سازوکار مقاومت در برابر فراموشی و سلطه، حافظه‌های تحریف شده را روایت‌پذیر ساخته و بدین ترتیب، به حفظ هویت فلسطینی و انتقال آن به نسل‌های آینده یاری می‌رسانند.

https://rpa.soore.ac.ir/article_735856_c89803d3003b91c9db534e808159053e.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 6 20 2026 06 22 Deconstructing Aristotle’s Ideal Plot in Chapter 13 of the Poetics: The Relationship Between Hamartia and Desert واسازی پیرنگ ایدئال ارسطو در بند 13 بوطیقا: رابطۀ هامارتیا و استحقاق 21 36 732123 10.22034/rpa.2025.2075534.1194 FA امیرعلی ثمن کارشناس ارشد رشته ادبیات نمایشی، مؤسسه آموزش عالی هنر شیراز، شیراز، ایران. 0009-0006-5822-3380 سعیدرضا خوش شانس دانشجوی دکتری تخصصی رشته فلسفه هنر، دانشکدۀ حقوق، الهیات و علوم سیاسی، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران 0009-0001-0443-205X Journal Article 2025 10 22 This study undertakes a deconstructive examination of Aristotle’s concept of the ideal tragic plot as formulated in Chapter 13 of the Poetics, focusing on the intricate relationship between hamartia (ἁμαρτία) and what may be termed ethical desert. While Aristotle’s formulation seeks to establish an ethical and aesthetic balance between the hero’s character, his action, and the resulting suffering, this balance conceals an unresolved tension at the very core of his ethical and poetic system. The present research exposes this tension through a Derridean reading that reveals the instability of the concepts of moral responsibility, awareness, and desert (ἀξία), showing how the notion of hamartia functions not as a clarifying principle of moral causality but as a site of aporia within the Aristotelian framework. Aristotle’s theory of tragedy rests upon a series of ethical presuppositions derived from his Nicomachean Ethics. The tragic protagonist, according to Poetics 13 (1453a7–13), must not be a person of complete virtue or utter vice, but one who falls into misfortune through hamartia. This term, often translated as “error” or “mistake,” carries a crucial moral ambiguity: it implies both ignorance and responsibility, both innocence and guilt. The ethical foundation of the ideal plot therefore depends upon a delicate mediation between moral accountability and moral exemption. Aristotle insists that the tragic effect—pity (ἔλεος) and fear (φόβος)—emerges only when the hero’s suffering is undeserved in the strict sense; yet he simultaneously demands that the hero’s downfall be self-caused, arising from his own action. This dual demand generates an inner contradiction: the hero must be both the author and the victim of his fate, both responsible and not responsible, both ethically entitled to compassion and ethically implicated in his suffering. The notion of ethical desert—the question of who deserves pain, pity, or punishment—becomes central to unpacking Aristotle’s tragic model. If ethical desert presupposes the agent’s freedom and awareness, then hamartia, by introducing a form of ignorance or involuntary action, destabilizes this foundation. Aristotle’s own moral theory claims that virtue and vice are acquired habits formed through voluntary actions (EN II.1, 1103a15–25). However, since habit itself arises through training and social conditioning, the boundaries of voluntariness become blurred. The ethical subject, shaped by formative experiences beyond his control, can neither be fully responsible for his disposition nor entirely exempt from accountability. Consequently, when applied to tragedy, the concept of moral desert (deservingness) collapses into indeterminacy. This indeterminacy becomes more visible when one considers Aristotle’s discussion of beast-like (θηριώδης) and mad individuals. For those whose moral formation has been impaired from childhood or corrupted by culture, ethical judgment loses its ground. As Nussbaum observes, Aristotle effectively excludes such figures from “the circle of moral judgment,” recognizing that without the possibility of moral education there can be no genuine responsibility. Yet the tragic hero, unlike the beast or the madman, occupies an intermediary position: he is neither wholly ignorant nor fully virtuous, neither innocent nor guilty. In this liminal condition, hamartia emerges as a trace of moral undecidability—an instance where the very criteria of judgment dissolve. Derrida’s critique of naming and categorization illuminates this mechanism. Naming—such as calling one “mad”, “irrational”, or “wicked”—functions as a performative act of power that stabilizes meaning by excluding what threatens it. In Aristotle’s system, the exclusion of the “non-rational” serves to preserve the coherence of his ethical teleology. The tragic hero, however, reintroduces what the system excludes: a rational being whose suffering cannot be ethically justified yet cannot be detached from his own agency. Hamartia, thus, is not a mere moral lapse but a structural disturbance within the logic of moral desert. It exposes the impossibility of maintaining a stable boundary between voluntary and involuntary action, between the just and the unjust, between deserving and undeserving suffering. In Poetics 13, Aristotle constructs an “ideal plot” wherein the protagonist’s misfortune arises from his own hamartia, not from vice or chance. Yet this very prescription betrays a philosophical impasse. If the action is voluntary, the suffering is deserved; if it is involuntary, the hero cannot be blamed. The synthesis Aristotle proposes—a mixed condition of partial ignorance and partial responsibility—does not resolve the aporia but displaces it. The ideal plot becomes the site where moral causality is both affirmed and deferred. The cathartic effect, rather than purging the emotions of pity and fear, continually reactivates the ethical uncertainty that gives rise to them. From a deconstructive standpoint, the relation between hamartia and ethical desert marks the point where Aristotelian ethics and poetics intersect yet undermine one another. The moral logic that grounds ethical desert depends on the clear attribution of agency, intention, and responsibility. The aesthetic logic of tragedy, by contrast, demands the suspension of such clarity to evoke pity and fear. In the tragic scene, ethical judgement becomes impossible precisely because the conditions of responsibility are indeterminate. Thus, the “ideal plot” Aristotle envisions cannot be a structure of moral coherence; it is rather a space of perpetual oscillation between justice and compassion, knowledge and ignorance, action and passion. Furthermore, if one follows Aristotle’s ethical psychology, in which hexis (ἕξις, moral disposition) is formed through habituation, the tragic crisis reveals a deeper paradox: the very formation of moral character entails a loss of freedom. What begins as voluntary action solidifies into involuntary structure. By the time the hero acts, he acts from a settled disposition whose origins lie beyond his control. Hence, responsibility and ethical desert are undermined from within. The tragic event does not merely dramatize moral error—it dramatizes the collapse of the notion that moral error can be cleanly distinguished from moral innocence. In this light, hamartia becomes a philosophical metaphor for the instability of ethical categories. It resists translation into “error”, “flaw”, or “sin”, because each of these assumes a determinate relation between intention and consequence. Instead, hamartia signifies a spacing—a differential gap—between knowing and doing, between moral agency and moral effect. This gap is precisely what makes pity and fear possible: we pity the hero because he does not fully know, and we fear because we sense that the same gap structures our own ethical life. The deconstructive reading thus reorients Aristotle’s Poetics away from a prescriptive theory of plot towards a meditation on the undecidability of moral experience. The tragic effect is not the resolution of ethical conflict through catharsis but the perpetual exposure of its irresolvable character. Hamartia ceases to be a cause of downfall and becomes a symptom of the impossibility of assigning clear ethical deserts. The hero’s suffering is neither just nor unjust—it occupies a space of suspended judgement where meaning, morality, and affect continually defer one another. In conclusion, this study argues that Aristotle’s “ideal plot” in Poetics 13 contains within itself the seeds of its own deconstruction. The relation between hamartia and ethical desert destabilizes the very moral distinctions upon which Aristotelian tragedy depends. By reading hamartia as a site of aporia rather than as an explanatory concept, we uncover an unacknowledged instability at the heart of classical poetics: a tension between the desire for moral order and the aesthetic necessity of indeterminacy. This tension, once brought to light, invites a reconsideration of the ethical foundations of tragedy in both ancient and modern contexts, suggesting that the enduring power of tragedy lies not in the affirmation of justice but in the exposure of its perpetual deferral. In this suspended field of ethical desert, even the wicked—those whom Aristotle explicitly excludes from the sphere of the tragic—begin to reenter through a faint shimmer of shared humanity. When the boundaries of responsibility and awareness blur, the moral distance between the virtuous and the vicious collapses. The “evil” character, no longer fully accountable nor entirely alien, becomes recognizable as one of us—a being entangled in the same network of desire, ignorance, and necessity. In this moment, tragedy ceases to be a courtroom for ethical judgement and transforms into a stage of empathy. The spectator no longer weighs guilt but feels kinship, no longer seeks justice but glimpses vulnerability. Hamartia, in this sense, opens the tragic world to an ethics beyond desert—an ethics grounded not in the measure of blame, but in the fragile recognition of our shared fallibility. Aristotle’s theory of tragedy rests upon a series of ethical presuppositions derived from his Nicomachean Ethics. The tragic protagonist, according to Poetics 13 (1453a7–13), must not be a person of complete virtue or utter vice, but one who falls into misfortune through hamartia. This term, often translated as “error” or “mistake,” carries a crucial moral ambiguity: it implies both ignorance and responsibility, both innocence and guilt. The ethical foundation of the ideal plot therefore depends upon a delicate mediation between moral accountability and moral exemption. Aristotle insists that the tragic effect—pity (ἔλεος) and fear (φόβος)—emerges only when the hero’s suffering is undeserved in the strict sense; yet he simultaneously demands that the hero’s downfall be self-caused, arising from his own action. This dual demand generates an inner contradiction: the hero must be both the author and the victim of his fate, both responsible and not responsible, both ethically entitled to compassion and ethically implicated in his suffering. The notion of ethical entitlement—the question of who deserves pain, pity, or punishment—becomes central to unpacking Aristotle’s tragic model. If ethical entitlement presupposes the agent’s freedom and awareness, then hamartia, by introducing a form of ignorance or involuntary action, destabilizes this foundation. Aristotle’s own moral theory claims that virtue and vice are acquired habits formed through voluntary actions (EN II.1, 1103a15–25). However, since habit itself arises through training and social conditioning, the boundaries of voluntariness become blurred. The ethical subject, shaped by formative experiences beyond his control, can neither be fully responsible for his disposition nor entirely exempt from accountability. Consequently, when applied to tragedy, the concept of moral desert (deservingness) collapses into indeterminacy. This indeterminacy becomes more visible when one considers Aristotle’s discussion of beast-like (θηριώδης) and mad individuals. For those whose moral formation has been impaired from childhood or corrupted by culture, ethical judgment loses its ground. As Nussbaum observes, Aristotle effectively excludes such figures from “the circle of moral judgment,” recognizing that without the possibility of moral education there can be no genuine responsibility. Yet the tragic hero, unlike the beast or the madman, occupies an intermediary position: he is neither wholly ignorant nor fully virtuous, neither innocent nor guilty. In this liminal condition, hamartia emerges as a trace of moral undecidability—an instance where the very criteria of judgment dissolve. Derrida’s critique of naming and categorization illuminates this mechanism. Naming—such as calling one “mad,” “irrational,” or “wicked”—functions as a performative act of power that stabilizes meaning by excluding what threatens it. In Aristotle’s system, the exclusion of the “non-rational” serves to preserve the coherence of his ethical teleology. The tragic hero, however, reintroduces what the system excludes: a rational being whose suffering cannot be ethically justified yet cannot be detached from his own agency. Hamartia, thus, is not a mere moral lapse but a structural disturbance within the logic of moral entitlement. It exposes the impossibility of maintaining a stable boundary between voluntary and involuntary action, between the just and the unjust, between deserving and undeserving suffering. In Poetics 13, Aristotle constructs an “ideal plot” wherein the protagonist’s misfortune arises from his own hamartia, not from vice or chance. Yet this very prescription betrays a philosophical impasse. If the action is voluntary, the suffering is deserved; if it is involuntary, the hero cannot be blamed. The synthesis Aristotle proposes—a mixed condition of partial ignorance and partial responsibility—does not resolve the aporia but displaces it. The ideal plot becomes the site where moral causality is both affirmed and deferred. The cathartic effect, rather than purging the emotions of pity and fear, continually reactivates the ethical uncertainty that gives rise to them. From a deconstructive standpoint, the relation between hamartia and ethical entitlement marks the point where Aristotelian ethics and poetics intersect yet undermine one another. The moral logic that grounds ethical entitlement depends on the clear attribution of agency, intention, and responsibility. The aesthetic logic of tragedy, by contrast, demands the suspension of such clarity to evoke pity and fear. In the tragic scene, ethical judgment becomes impossible precisely because the conditions of responsibility are indeterminate. Thus, the “ideal plot” Aristotle envisions cannot be a structure of moral coherence; it is rather a space of perpetual oscillation between justice and compassion, knowledge and ignorance, action and passion. Furthermore, if one follows Aristotle’s ethical psychology, in which hexis (ἕξις, moral disposition) is formed through habituation, the tragic crisis reveals a deeper paradox: the very formation of moral character entails a loss of freedom. What begins as voluntary action solidifies into involuntary structure. By the time the hero acts, he acts from a settled disposition whose origins lie beyond his control. Hence, responsibility and ethical entitlement are undermined from within. The tragic event does not merely dramatize moral error—it dramatizes the collapse of the notion that moral error can be cleanly distinguished from moral innocence. In this light, hamartia becomes a philosophical metaphor for the instability of ethical categories. It resists translation into “error,” “flaw,” or “sin,” because each of these assumes a determinate relation between intention and consequence. Instead, hamartia signifies a spacing—a differential gap—between knowing and doing, between moral agency and moral effect. This gap is precisely what makes pity and fear possible: we pity the hero because he does not fully know; we fear because we sense that the same gap structures our own ethical life. The deconstructive reading thus reorients Aristotle’s Poetics away from a prescriptive theory of plot toward a meditation on the undecidability of moral experience. The tragic effect is not the resolution of ethical conflict through catharsis, but the perpetual exposure of its irresolvable character. Hamartia ceases to be a cause of downfall and becomes a symptom of the impossibility of assigning clear ethical entitlement. The hero’s suffering is neither just nor unjust—it occupies a space of suspended judgment where meaning, morality, and affect continually defer one another. In conclusion, this study argues that Aristotle’s “ideal plot” in Poetics 13 contains within itself the seeds of its own deconstruction. The relation between hamartia and ethical entitlement destabilizes the very moral distinctions upon which Aristotelian tragedy depends. By reading hamartia as a site of aporia rather than as an explanatory concept, we uncover an unacknowledged instability at the heart of classical poetics: a tension between the desire for moral order and the aesthetic necessity of indeterminacy. This tension, once brought to light, invites a reconsideration of the ethical foundations of tragedy in both ancient and modern contexts, suggesting that the enduring power of tragedy lies not in the affirmation of justice, but in the exposure of its perpetual deferral. In this suspended field of ethical entitlement, even the wicked—those whom Aristotle explicitly excludes from the sphere of the tragic—begin to reenter through a faint shimmer of shared humanity. When the boundaries of responsibility and awareness blur, the moral distance between the virtuous and the vicious collapses. The “evil” character, no longer fully accountable nor entirely alien, becomes recognizable as one of us—a being entangled in the same network of desire, ignorance, and necessity. In this moment, tragedy ceases to be a courtroom for ethical judgment and transforms into a stage of empathy. The spectator no longer weighs guilt but feels kinship; no longer seeks justice but glimpses vulnerability. Hamartia, in this sense, opens the tragic world to an ethics beyond desert—an ethics grounded not in the measure of blame, but in the fragile recognition of our shared fallibility. پژوهش حاضر با هدف بازخوانی و بازاندیشی در مفهوم بنیادین هامارتیا در فن شعر ارسطو، در نسبت با مسئلۀ استحقاق اخلاقی، می‎کوشد افق‎های تازه‎ای برای فهم تراژدی و اخلاق در سنت اندیشه یونانی بگشاید. مسئلۀ اصلی پژوهش آن است که چگونه می‎توان مفهوم هامارتیا و در پی آن ساختار تراژدی ارسطویی را، با توجه به تحولات فلسفه اخلاق معاصر، برای مخاطب امروز قابل‎فهم کرد. در این راستا، نگارنده با بهره‎گیری از رویکرد واسازانه ژاک دریدا، پیوند سنتی میان «خطا» و «سزا» را مورد بازاندیشی قرار می‎دهد و می‎کوشد ساختار قضایی حاکم بر تراژدی را از یک نظام بسته و مبتنی بر داوری اخلاقی به پرسشی گشوده درباره نسبت انسان، مسئولیت و عدالت تبدیل کند. پژوهش حاضر از نظر روش‎شناسی، توصیفی، تحلیلی و مبتنی بر مطالعۀ کتابخانه‎ای است. متن فن شعر به عنوان مرجع اصلی پژوهش انتخاب شده و در کنار آن، دیدگاه‎های مفسران و فیلسوفان کلاسیک و معاصر، از جمله مارتا نوسباوم، جوزف هیلیس میلر، والتر کافمن و ژاک دریدا، به صورت تطبیقی بررسی شده‎اند تا امکان فهمی نو از نسبت میان هامارتیا، آگاهی، اختیار، مسئولیت و استحقاق اخلاقی فراهم شود. یافته‎های پژوهش نشان می‎دهد که هرچند در نظام اخلاقی ارسطو استحقاق اخلاقی با میزان آگاهی و اختیار فاعل نسبت مستقیم دارد، اما در تجربه تراژیک این نسبت هرگز به شکلی قطعی و محاسبه‎پذیر برای مخاطب آشکار نمی‎شود. از‎همین‎رو، واسازی مفهوم هامارتیا انسجام ظاهری اخلاق ارسطویی را به چالش می‎کشد و نشان می‎دهد که داوری اخلاقی درباره قهرمان تراژیک همواره در وضعیتی تعلیقی و ناتمام قرار دارد. بر این اساس، هدف این خوانش نفی اختیار یا مسئولیت قضایی نیست، بلکه تأکید بر محاسبه‎ناپذیر بودن اختیار از منظر بینندۀ عمل و در نتیجه بینندۀ تراژدی است؛ وضعیتی که امکان صدور حکم نهایی را به تعویق می‎اندازد. در چنین افقی، تراژدی از عرصه صدور حکم اخلاقی به میدانی برای تجربه همدلی، تعلیق داوری و رویارویی با شکنندگی وضعیت انسانی تبدیل می‎شود. تماشاگر با شخصیتی مواجه است که می‎تواند هم‎زمان خطاکار و بی‎گناه تلقی شود و حتی شخصیت‎های شرور نیز از خلال روزنه‎ای از انسانیت، ضعف یا آسیب‎پذیری، در قلمرو همدلی قرار گیرند. در نتیجه، تراژدی دیگر بازنمایی استحقاق یا سزا نیست، بلکه عرصه‎ای برای تجربه خطا، رنج، مسئولیت و امکان بخشایش است؛ خوانشی که افزون بر بازتعریف نسبت اخلاق و تراژدی، ظرفیت شکل‎گیری پیرنگ‎های تازه‎ای را نیز، با حفظ غایت بنیادین تراژدی ارسطویی یعنی کاتارسیس، در پرتو فلسفه اخلاق معاصر فراهم می‎آورد.

https://rpa.soore.ac.ir/article_732123_0a772ac761b0832c711d8b157c3e17ad.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 6 20 2026 06 22 A Myth-Critical Analysis of Asghar Farhadi’s Films from the Perspective of Gilbert Durand اسطوره‎کاوی آثار سینمایی اصغر فرهادی از دیدگاه ژیلبر دوران 37 50 736826 10.22034/rpa.2026.2078307.1207 FA هومن نادری دانشجوی دکتری رشتۀ پژوهش هنر، دانشکدۀ جامعه و رسانه، واحد اصفهان (خوراسگان)، دانشگاه آزاد اسلامی، اصفهان، ایران 0009-0006-1397-0649 بهمن نامور مطلق استاد گروه زبان و ادبیات فرانسه، دانشکدۀ زبان و ادبیات، دانشگاه شهید بهشتی، تهران، ایران شاپور بهیان دانشیار گروه جامعه ‎شناسی نظری فرهنگی، دانشکدۀ جامعه ‎شناسی، واحد مبارکه، دانشگاه آزاد اسلامی، مبارکه، ایران سمر حقیقی بروجنی استادیار، گروه معماری، داشنکدۀ جامعه و رسانه، واحد اصفهان (خوراسگان)، دانشگاه آزاد اسلامی، اصفهان، ایران Journal Article 2025 12 03 The interpretation of artistic and literary works through mythological frameworks has generated diverse methodological approaches over the past two centuries. Traditions such as natural mythology, allegorical mythology, and mythography have each been deployed according to the epistemological paradigms of their respective eras. Among these, the French mythologist Gilbert Durand developed a systematic method for studying artistic works, which he termed “mythocritique” (myth criticism or myth-critical analysis). This approach transcends intratextual analysis by incorporating social, historical, and cultural contexts, examining relationships between the text and its transtextual framework, ultimately identifying the artist’s personal myth and its extension to a transpersonal myth at the societal level. The primary research problem of this study is to identify and elucidate the mechanisms through which myths and collective archetypes operate within the narrative and semantic structure of Asghar Farhadi’s cinematic works, as well as their function in representing contemporary social issues. The aim is to apply Durand’s myth-critical method to analyze the hidden mythical layers in Farhadi’s cinema, explain the connection between his personal myth and collective archetypes, and assess its potential for generalization to the societal level and to the works of other artists. The present study is qualitative in nature and based on Gilbert Durand’s myth-critical analysis approach. The research corpus encompasses all of Asghar Farhadi’s cinematic works, and the research sample was selected purposefully. Data were collected through library research, consulting relevant books, articles, and dissertations, as well as through the viewing and analysis of the films. A descriptive-analytical method was employed for data analysis, utilizing Durand’s seven-stage myth-critical framework. The first stage involved selecting the most significant work and identifying its embedded mythemes. Based on critical reception, festival jury decisions, and audience feedback, A Separation was chosen as the representative work. Through detailed analysis, mythemes were identified at three levels: formal, content-based, and contextual. These included motifs such as separation, lying, concealment, death, journey, court, family, oath, child, city, religious beliefs, the film’s title, Termeh, window, Qur’an, and the green scarf. Each functioned as the smallest meaningful units of myth within the narrative structure. In the second stage, after identifying the mythemes, the relational network among them was examined. Based on frequency of occurrence, role in the plot, and influence on narrative structure, “lying” was identified as the focal mytheme in A Separation. In this film, lying is not a peripheral element but rather the driving engine of the narrative and the primary factor in the formation of crises and narrative complications. The third stage determined the fundamental characteristics of lying in A Separation: first, lying as a defensive strategy to cope with social and legal pressures; second, the inability of lying to resolve crises—lies not only fail to reduce tensions but actually deepen personal and familial crises; and third, the contradiction between intention and consequence, whereby even well-intentioned white lies lead to negative and crisis-inducing outcomes. In the fourth stage, the mytheme of lying was correlated with Asghar Farhadi’s personal and professional biography. Examination of his interviews and professional controversies revealed that Farhadi has encountered patterns of concealment and white lies in several instances, such as disputes over authorship of the play Mashin-Neshinhá (The Car-Sitters) with Ali Khodsiani, the matter of secret smoking, and the accusation of idea theft for the film A Hero. Furthermore, lying recurs in his other works, including Dance in the Dust, Beautiful City, Fireworks Wednesday, About Elly, The Past, The Salesman, Everybody Knows, and A Hero. A comprehensive analysis of motivations, consequences, and types of lies across each film demonstrated that protective and self-interested lies consistently lead to the collapse of human relationships and moral crises. In the fifth stage, existing mythical narratives corresponding with Farhadi’s personal myth (lying) were examined. Five were studied: Jamshid, Rostam and Sohrab, Sudabeh and Siavash, Othello, and Medea. In the Jamshid narrative, lying manifests at the level of power and society, leading to the loss of divine glory (farreh). In Sudabeh and Siavash, lying serves as a tool for revenge and status preservation, rupturing the father-son relationship. In Othello, lying operates as a psychological and destructive force. In Medea, lying begins with Jason’s betrayal and initiates a cycle of deception. Following analysis, the story of Rostam and Sohrab from Ferdowsi’s Shahnameh was selected as the pattern most congruent with Farhadi’s personal myth, because in both, lying and concealment are not individual acts but rather tragic factors that dismantle the foundation of the family. In the sixth stage, an intermythic study was conducted based on the selected narrative, identifying relationships with other homologous myths. It was determined that the character Nader in A Separation occupies a structural position similar to that of Rostam. Both face a critical moment in which they have the opportunity to tell the truth, yet consciously choose concealment. The difference lies in the outcome: in the Shahnameh, the tragedy culminates in Sohrab’s physical death, whereas in Farhadi’s film, it leads to the “moral death” of Termeh. At the beginning of the film, Termeh is an innocent child, but throughout the narrative, she gradually enters the cycle of lying and offers false testimony in court to defend her father. This event marks a turning point in her moral development and demonstrates that lying, as a cultural pattern, is transmitted intergenerationally. In the seventh stage, a transtextual study was conducted within the semantic field pertaining to Farhadi’s works to determine whether his personal myth (the white lie) can be generalized to the societal level and to the works of other artists. The meta-narrative of Rostam and Sohrab in the Shahnameh demonstrates that Rostam, through his concealment, exemplifies the “white lie” whose consequences are tragic and crisis-inducing, leading to the collapse of the family foundation. In Persian literary texts, a distinction is also made between the “white lie” and the “sedition-inducing lie”, as Saa’di emphasizes in Golestān: “An expedient lie is better than a sedition-inducing truth.” The results indicated that Farhadi’s personal myth is not confined to a single work or individual; rather, on a broader level, it reflects the Zeitgeist and the cultural-historical paradigm of Iranian society. The pattern of “expedient concealment” is deeply rooted in Iranian society and is reproduced through everyday behavioral patterns, social structures, and even formal institutions. At the level of family relationships, this pattern manifests as “concealment to maintain appearances”, which official statistics identify as a significant factor contributing to the increase in emotional divorce and the decline of trust within families. At the societal level, it appears as a “duality between official discourse and everyday life” and “self-censorship” Its consequences can be observed in declining public trust, increasing collective anxiety, and the rupture of human bonds. This pattern is also observable in the works of other contemporary Iranian directors, such as Sa’ādatābād (Maziar Miri), Ghesseh-há (Rakhshan Banietemad), Melbourne (Nima Javidi), and Rahā (Hesam Farahmand). Ultimately, this study demonstrated that “lying” is the focal mytheme in Asghar Farhadi’s cinema, and that his personal myth is connected to the narrative pattern of “Rostam and Sohrab” in Ferdowsi’s Shahnameh. This myth, derived from Rostam’s act of concealing the truth of his identity from Sohrab, is not confined to a single work or individual; rather, on a broader level, it reflects the Zeitgeist and the cultural-historical paradigm of Iranian society. From this perspective, the “white lie” is not a personal theme but rather a cultural pattern deeply rooted in the Iranian collective unconscious, one that is reproduced across various artistic media and social relations, and that holds the potential for generalization to the works of other filmmakers and artists. The tragic dimension of the myth serves as a warning that lying, even with good intentions, is not a risk-free strategy, and its ultimate outcome may escape individual control and exacerbate personal, familial, and social crises. The findings further demonstrate that myth-critical analysis, as a method of cultural analysis, can serve as an effective tool for identifying deep-seated intellectual and behavioral patterns in artistic works, and can contribute to a better understanding of the complex interactions among art, myth, and society. خوانش آثار هنری و ادبی با تکیه بر دانش اسطوره‎شناسی، در دو سدۀ اخیر شاهد ظهور و تکامل رویکردهای متعددی بوده است. روش‎هایی چون اسطوره‎شناسی طبیعی، اسطوره‎شناسی تمثیلی و اسطوره‎گونه‎شناسی، هر یک متناسب با پارادایم‎های فکری و معرفتی دورۀ خویش، در تحلیل متون فرهنگی و هنری به کار گرفته شده‎اند. در این میان، ژیلبر دوران، اسطوره‎پژوه فرانسوی، روشی نظام‎مند برای مطالعۀ آثار هنری با عنوان «اسطوره‎کاوی» تدوین کرد. اسطوره‎کاوی، فراتر از تحلیل درون‎متنی حرکت می‎کند و با در نظر گرفتن بافتارهای اجتماعی، تاریخی و فرهنگی، به واکاوی مناسبات میان متن و فرامتن می‎پردازد و در نهایت به شناسایی اسطوره شخصی هنرمند و تعمیم آن به اسطوره فراشخصی در سطح جامعه می‎انجامد. بر این اساس، مسئله اصلی پژوهش حاضر، شناسایی و تبیین سازوکار حضور اسطوره‎ها و کهن‎الگوهای جمعی در ساختار روایی و معنایی آثار سینمایی اصغر فرهادی و کارکرد آن‎ها در بازنمایی مسائل اجتماعی است. هدف پژوهش، کاربست روش اسطوره‎کاوی ژیلبر دوران در تحلیل لایه‎های اسطوره‎ای پنهان در سینمای اصغر فرهادی و تبیین پیوند میان اسطورۀ شخصی او با کهن‎الگوهای جمعی و قابلیت تعمیم آن به سطح جامعه و آثار دیگر هنرمندان است. پژوهش حاضر از نوع کیفی و مبتنی بر رویکرد اسطوره‎کاوی ژیلبر دوران است. جامعه پژوهش، کلیه آثار سینمایی اصغر فرهادی را در بر می‎گیرد و داده‎های مورد نیاز به‎صورت کتابخانه‎ای و با مراجعه به کتاب‎ها، مقالات و پایان‎نامه‎های مرتبط و نیز مشاهده و تحلیل فیلم‎ها گردآوری شد. برای تجزیه و تحلیل داده‎ها، از روش توصیفی-تحلیلی بهره‎گیری شده است و تحلیل آثار با بهره‎گیری از مراحل هفت‎گانه اسطوره‎کاوی دوران صورت گرفته است. یافته‎های پژوهش نشان داد که «دروغ» خرده‎اسطوره کانونی در آثار فرهادی است. پس از تحلیل، داستان رستم و سهراب به عنوان هم‎خوان‎ترین الگو با اسطوره شخصی فرهادی برگزیده شد. این اسطوره که برگرفته از کنش رستم در پنهان‎کردن حقیقت هویت خود از سهراب است، به یک اثر یا فرد محدود نمی‎شود، بلکه در سطحی گسترده‎تر بازتاب‎دهنده روح زمانه و پارادایم فرهنگی-تاریخی جامعه ایرانی است. از این منظر، «دروغ مصلحتی» نه یک مضمون شخصی، بلکه الگویی فرهنگی و ریشه‎دار در ناخودآگاه جمعی ایرانی به شمار می‎رود که در مدیوم‎های هنری مختلف و مناسبات اجتماعی بازتولید می‎شود و قابلیت تعمیم به آثار دیگر فیلمسازان و هنرمندان را دارد.

https://rpa.soore.ac.ir/article_736826_5d9dd2bcc6c0e6a8f3dcd4a34516ae94.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 6 20 2026 06 22 The Imaginary, the Symbolic, and the Real in the Representation of Domination: A Lacanian Reading of the Film the Old Bachelor ساحت‌های خیالی، نمادین و واقعی در بازنمایی سلطه: خوانش لاکانی از فیلم‌سینمایی «پیرپسر» 51 63 734340 10.22034/rpa.2026.2079852.1208 FA سجاد محمودی دکتری تخصصی رشتۀ علوم سیاسی ـ مسائل ایران، دانشکدۀ علوم سیاسی، دانشگاه آزاد تهران مرکزی، تهران، ایران 0009-0003-1827-3832 Journal Article 2025 12 03 This article examines the representation of domination and the intellectual’s relation to power structures in the film Pir-Pesar (The Old Bachelor) (2023), directed by Oktay Baraheni, through a psychoanalytic and critical sociological framework. The study is motivated by the film’s dense engagement with patriarchal authority, the reproduction of coercive power, and the recurring failure of the intellectual subject to achieve emancipatory agency. Rather than treating the film merely as a narrative of family conflict or personal tragedy, the article reads it as a multilayered cultural text in which psychic formations, symbolic orders, and social hierarchies intersect. The central premise is that domination in the film does not operate solely through overt violence or explicit repression; instead, it is sustained through desire, identification, dependency, symbolic legitimacy, and the internalization of authority. In this sense, the film offers a compelling site for investigating how power persists not only through institutions and laws, but also through affective and unconscious investments that bind subjects to the very structures that constrain them. Methodologically, the article adopts a qualitative interpretive-discursive approach. The film is analyzed as a text whose meanings emerge from the interaction of visual form, character relations, dialogic structures, and symbolic patterns. The theoretical framework is primarily informed by Jacques Lacan’s psychoanalysis, especially the concepts of the Imaginary, the Symbolic, and the Real, along with the notions of the Big Other, the Name-of-the-Father, lack, desire, and jouissance. To complement this psychoanalytic perspective, the article draws on Max Weber’s concept of patrimonialism and Pierre Bourdieu’s theory of symbolic violence. This interdisciplinary configuration makes it possible to explain domination as a phenomenon that is simultaneously psychic, symbolic, and social. In other words, the film is not interpreted as a simple reflection of external power relations; rather, it is understood as a narrative in which social domination becomes psychically lived, symbolically reproduced, and emotionally justified. Within the Lacanian framework, the article argues that the film stages the intellectual subject as fundamentally, or trapped, within the Imaginary order. In this domain, the subject is shaped by an idealized self-image and by rivalrous relations grounded in narcissism, misrecognition, and comparison. The intellectual figure in the film appears to be caught between self-perception and social recognition, unable to establish a stable or autonomous position. Instead of functioning as a critical agent capable of exposing domination, the intellectual becomes attached to fantasies of mastery, distinction, and symbolic superiority. This attachment reveals the vulnerability of the intellectual subject, whose desire for recognition may lead to complicity rather than resistance. The film thus critiques an intellectual posture that is more concerned with preserving the coherence of the self-image than with confronting material and symbolic structures of oppression. The result is a subjectivity that remains internally divided and politically ineffective. At the level of the Symbolic, the article shows that law, norms, and social rules in Pir-Pesar do not operate as neutral mechanisms of justice. Rather, they are embedded in a patriarchal order that legitimizes authority and reproduces hierarchy. The father-function, in Lacanian terms, is not simply a family principle but an organizing logic that extends into broader social relations. In the film, symbolic law serves to stabilize domination by converting power into legitimacy and hierarchy into common sense. The Name-of-the-Father is therefore not presented as a liberating structuring principle but as a vehicle for the continuation of oppressive order. This symbolic configuration intertwines with Weber’s notion of patrimonialism, where authority is personalized, traditional, and deeply fused with kinship and inheritance. Such an arrangement allows power to appear natural and enduring while masking its arbitrary and exclusionary character. The article demonstrates that the film’s world is one in which authority is reproduced less through overt coercion than through inherited legitimacy, familial dependency, and the normalization of unequal relations. Bourdieu’s concept of symbolic violence further clarifies the mechanisms through which domination is sustained. The film depicts forms of power that do not rely exclusively on physical force; instead, they operate by shaping perception, habit, and expectation. Symbolic violence works through recognition and misrecognition, causing subjects to accept the terms of their own subordination as legitimate or inevitable. In this regard, the intellectual’s position is especially paradoxical. On one hand, the intellectual might be expected to possess critical awareness and discursive tools for challenging domination. On the other hand, the film suggests that intellectual capital does not automatically translate into emancipatory action. The intellectual may remain bound to the same symbolic networks, economic dependencies, and emotional attachments that sustain domination. This contradiction is central to the article’s argument: knowledge without structural rupture can become another form of accommodation. The film therefore problematizes the romantic assumption that the intellectual is inherently oppositional or progressive. The article also pays close attention to the role of the Real in the film. In Lacanian terms, the Real is not simply reality as such but that which resists symbolization and exposes the fragility of the dominant order. In Pir-Pesar, moments of violence, crisis, rupture, and breakdown function as encounters with the Real. These moments reveal that the symbolic order is incomplete and that its apparent stability depends on suppressing unresolved conflict. However, the article emphasizes that such encounters with the Real do not automatically produce liberation or transformation. Instead, they may intensify confusion, anxiety, and reactive repetition. The breakdown of authority does not necessarily lead to a new ethical or political horizon; it can equally produce renewed submission, defensive adaptation, or destructive stagnation. This insight is crucial to the article’s conclusion, which resists any simplistic redemptive reading of crisis. A major finding of the study is that the film presents the failure of the intellectual not merely as a personal or moral deficiency but as a structural problem rooted in overlapping systems of symbolic, economic, and emotional dependence. The intellectual is unable to act decisively against domination because the conditions of action are themselves compromised. This means that the obstacle to emancipation is not merely a lack of awareness. Indeed, the film implies that subjects may understand domination intellectually while still remaining practically immobilized. Such paralysis arises from the dense entanglement of desire, fear, belonging, obligation, and privilege. In this sense, the film offers a critical meditation on the gap between critique and action. It suggests that ideological insight alone is insufficient when the subject remains embedded in the very order that requires critique. The article concludes that Pir-Pesar portrays domination as a recursive and self-reproducing structure that survives through the participation of those who are subordinated within it. The intellectual, far from standing outside the system, becomes implicated in its continuation. This implication is not simply a matter of hypocrisy or weakness; rather, it reveals how domination secures itself by generating subjects who internalize its logic and help reproduce its legitimacy. The film therefore unsettles any straightforward opposition between ruler and ruled, agent and victim, critic and power. Instead, it reveals a more troubling dynamic in which emancipation is blocked by the structural organization of subjectivity itself. From this perspective, the film’s significance lies in its insistence that critique must address not only institutions and overt structures of power, but also the unconscious attachments and symbolic identifications that make domination durable. Overall, the article argues that Pir-Pesar provides a rich cinematic meditation on the persistence of patriarchal domination, the fragility of the intellectual subject, and the complex entanglement of desire and authority. By combining Lacanian psychoanalysis with Weberian and Bourdieusian social theory, the study demonstrates that domination is reproduced at multiple levels: in psychic identification, in symbolic law, in social hierarchy, and in the internalized acceptance of unequal relations. The film thereby becomes a critical text through which one can examine the failures of emancipation in contemporary social life. Its portrait of the intellectual is especially significant because it reveals a figure who is neither fully external to power nor capable of transcending it. Instead, the intellectual is shown to inhabit a contradictory position, simultaneously aware of domination and entangled in its reproduction. This contradiction, the article suggests, is one of the central political and philosophical problems of the modern subject. پژوهش حاضر به تحلیل بازنمایی سلطه و نسبت روشنفکر با ساختارهای قدرت در فیلم پیرپسر، ساخته اکتای براهانی، می‎پردازد. مسئله اصلی پژوهش، تبیین سازوکارهایی است که فیلم از خلال آنها ناکامی سوژه روشنفکر، استمرار مناسبات پدرسالارانه و بازتولید نظم پاتریمونیال را در بستر روابط خانوادگی، طبقاتی و اجتماعی بازنمایی می‎کند. اهمیت این موضوع ازآن‎روست که فیلم پیرپسر صرفاً روایتی خانوادگی یا روان‎شناختی نیست، بلکه ساختاری نمادین از سلطه را به نمایش می‎گذارد که در آن میل، قانون، خشونت و وابستگی مادی درهم تنیده می‎شوند. هدف پژوهش، تحلیل لایه‎های روانی و گفتمانی فیلم و نشان دادن نسبت میان سه ساحت خیالی، نمادین و واقعی در شکل‎گیری و تداوم قدرت است. پرسش اصلی این است که فیلم‎ساز چگونه از طریق این سه ساحت، شکست کنش روشنفکرانه، اقتدار پدرسالارانه و منطق بازتولید سلطه را صورت‎بندی می‎کند؟ چارچوب نظری پژوهش بر مفاهیم ژاک لاکان1، ازجمله «دیگری بزرگ»، «نامِ پدر»، «میل»، «فقدان» و «ژوئیسانس» استوار است و برای گسترش ظرفیت تحلیلی، با مفهوم پاتریمونیالیسم2 ماکس وبر3 و خشونت نمادین پیر بوردیو4 پیوند داده می‎شود. روش پژوهش کیفی و مبتنی بر تحلیل گفتمانی ـ تفسیری است؛ بدین معنا که فیلم همچون متنی چندلایه خوانده می‎شود که مناسبات سلطه را نه‎فقط در سطح روایت، بلکه در سطح تصویر، شخصیت‎پردازی، روابط خانوادگی و منطق میل بازنمایی می‎کند. در این خوانش، فیلم نه‎تنها به مثابه یک روایت خانوادگی، بلکه به عنوان متنی فرهنگی بررسی می‎شود که در آن نشانه‎ها و جزئیات بصری نیز سازوکار سلطه را آشکار می‎کنند. یافته‎ها نشان می‎دهد در ساحت خیالی، سوژه روشنفکر گرفتار تصویر ایدئال از خویشتن و رقابت‎های نارسیستی است و توان کنش انتقادی او به سطح تعارض‎های فردی تقلیل می‎یابد. در ساحت نمادین، قانون و هنجارها نه به مثابه سازوکار عدالت، بلکه به عنوان ابزار تثبیت اقتدار پدرسالارانه و امتیازهای طبقاتی عمل می‎کنند. در ساحت واقعی، با بروز خشونت، فروپاشی روایت و آشکار شدن شکاف‎های نظم مسلط، امر سرکوب‎شده بازمی‎گردد، اما این بازگشت الزاماً به رهایی منتهی نمی‎شود. نتیجه پژوهش نشان می‎دهد مسئله اصلی در فیلم، فقدان آگاهی نیست، بلکه انسداد ساختاری امکان کنش رهایی‎بخش است. پیرپسر نشان می‎دهد روشنفکر، هنگامی که در شبکه وابستگی‎های نمادین، اقتصادی و عاطفی گرفتار می‎شود، به‎جای گسست از نظم سلطه، ناخواسته در بازتولید آن مشارکت می‎کند.

https://rpa.soore.ac.ir/article_734340_1d974e3d1744554a0e3327e8b78498cd.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 6 20 2026 06 22 The Role of Parallel Editing in the Construction of Meaning in the Story World of Cinema: A Case Study of “The Silence of the Lambs” نقش تدوین موازی در شکل گیری معنا در جهان داستان فیلم؛ مطالعه موردی فیلم سینمایی سکوت بره‌ها 65 78 736228 10.22034/rpa.2026.2075903.1199 FA مهدی داودآبادی استادیار گروه هنرهای رسانه‎ای دانشکدۀ دین و رسانه دانشگاه صدا و سیما، قم، ایران امیرمحسن پورمحی آبادی کارشناس ارشد رشتۀ تولید سیما، دانشکدۀ دین و رسانه، دانشگاه صدا و سیما، قم، ایران 0009-0008-9456-9543 Journal Article 2025 11 03 Editing, as one of the most fundamental elements of cinematic language, plays a decisive role in structuring narrative, guiding audience perception, and shaping meaning within the story world of a film. In encountering a film, the first element to engage the viewer’s mind is its story and the diegetic universe it presents. However, the cinematic story and its world differ fundamentally from textual narratives. In textual narration, the author relies on words and the reader’s imagination to convey a self-sufficient story. In cinema, although the story remains an essential component, it cannot function independently; rather, a range of factors—editing among them—contribute to the transformation of a story into a film. The most significant shared concern between screenwriting in pre-production and editing in post-production is the continuity of storytelling. This continuity, realized through editing, brings the story world into being with all its formal and content-related aesthetic exigencies. The editor does more than merely narrate a story; they engage in a process of rewriting and refining the screenplay. Through their skill in storytelling, the editor generates new meaning. Armed with a vast array of raw material, the editor enables the recreation of the story world and the evocation of deeper significations. Among various editing techniques, parallel editing stands out as one of the most important tools for meaning-making in cinema, owing to its capacity to suggest simultaneity of events, establish connections between narrative strands, and guide the viewer’s attention. The present study aims to investigate the role of parallel editing in the construction of meaning within the story world of a film, using The Silence of the Lambs as a case study. The central research question concerns how this technique, beyond its narrative function, contributes to the production of implicit meanings, the generation of suspense, the guidance of audience perception, and the reinforcement of the film’s psychological depth. The research adopts a descriptive-analytical method grounded in a neoformalist approach. Data were collected through library sources, close observation of the film, and content analysis of selected sequences in terms of both visual and narrative dimensions. The neoformalist approach conceives of cinema not merely as a vehicle for entertainment or passive contemplation, but as a phenomenon capable of encouraging active engagement in the reconstruction of perception and the organization of affect, thereby fostering rationalization and evaluative reflection on experience. This approach privileges the analytical dimension, thereby foregrounding its methodological character. It employs an active process of identifying branches of meaning-production and decomposing the film into its constitutive components so as to assess the work’s formal unity and coherence. Neoformalism neither makes formal value judgment its sole point of departure nor settles for superficial interpretation; rather, it provides a conceptual toolkit that enables inquiry into both these branches of meaning-making. One of neoformalism’s analytical tasks is to break artistic works down into their constituent elements, examine the functioning of each element in isolation, and then investigate how all elements operate together within an audiovisual work to generate specific layers of meaning and effects for the viewer. Parallel editing, by manipulating time and space (through flashbacks, false simultaneity, etc.), assists the audience in reconstructing a complex story world in which concepts such as “the gap between perception and reality” play a key role. The film’s narrative provides cues that guide the viewer in optimally performing the operation of understanding the story world. Within this framework, narrative transcends the aesthetic level and attains affective and cognitive dimensions. The product of this process is the shaping of the story world—defined as the hypothetical environment within which the narrative unfolds and develops. This environment encompasses elements such as time, space, characters, rules, and unique events. In contemporary narratological theory, the concept of the story world has acquired particular significance. The story world is not confined to the text but encompasses all manifest and latent dimensions that the viewer must reconstruct for a complete understanding of the narrative. Narrative is a system that distributes information for the comprehension of the overall story action. Through cuts, interweaving of shots, camera movement, and point-of-view, it gradually expands the elements of the story world. These cinematic devices not only disclose levels of narration but also contribute to the creation of meaning. Parallel editing, beyond its aesthetic dimensions, directly influences the viewer’s cognitive processes, generating meaning through inference and schemas. By breaking classical spatial continuity and disrupting narrative linearity, it forges perceptual and emotional connections. This editing pattern provides specific devices for organizing narration and generating meaning within the story world. The author has analyzed the editing structure of key sequences in The Silence of the Lambs, examining how the arrangement of shots, management of time and space, and control of information flow affect the process of signification. In The Silence of the Lambs, parallel editing is not limited to the mere juxtaposition of simultaneous events; particularly from the second half of the film onward, it becomes an effective tool for relentlessly intensifying tension and suspense. The function of this technique is analyzed in three key sequences that constitute the peak of this emotional compression. First sequence: This sequence begins with the abduction of Catherine Martin and constitutes a crucial turning point in the film’s narrative. It contains limited yet significant instances of parallel editing. Here, the editor cuts between two storylines—Catherine’s captivity in the well, on the one hand, and Clarice’s efforts to find the killer, on the other—thereby creating an uneven distribution of knowledge. The viewer is made aware of Catherine’s situation and imminent danger, while the film’s main characters (Clarice and Crawford) remain incompletely informed of this threat. This informational gap generates powerful suspense. Parallel editing in this sequence juxtaposes two radically different worlds: (1) the subterranean world (the well)—dark, confined, and terrifying, signifying the victim’s absolute powerlessness; and (2) the above-ground world (the FBI investigation)—bright, expansive, and dynamic, signifying the striving for agency and rescue. This visual and semantic opposition, articulated through parallel cuts, foregrounds the concept of “gap”—both physical (the well) and symbolic (the rift between victim and savior). Second sequence: In this sequence, police forces are shown preparing to storm a house they believe to be the killer’s hideout. Simultaneously, the editing shifts to another house, where Clarice Starling, the young FBI agent, enters alone. Successive cuts between these two lines lead the viewer to believe that the police are about to enter the killer’s house, whereas in reality, Starling is positioned in the actual dangerous location. This editing structure is based on “simultaneity”, yet its meaning derives from “deception”. The editing deliberately feeds misleading information to the viewer, inducing the belief that the police are approaching the correct house. Through the alternation between the police house and Starling’s location, the audience anticipates the raid on the killer’s residence. In effect, the editing is designed to divert the viewer from the actual reality—that Starling is in peril. Third sequence: Parallel editing in this sequence effectively shifts time and space in parallel fashion. Rapid cuts between two different locations enable the creation of a sense of deception and suspense. Simultaneously with the depiction of Clarice’s situation, the editing intermittently cuts to shots of Bill, who observes her through night-vision goggles. This shift in point of view—from Clarice to Bill—not only heightens tension but also dramatically accentuates the contrast between the characters’ power and vulnerability. Since Bill can monitor Clarice’s every move, this change in perspective instills a continuous sense of threat in the spectator. Through these cuts, the editor places the viewer in a position of simultaneously feeling Clarice’s fear and isolation while also being aware of the threat Bill indirectly poses to her. Parallel editing thus not only conveys fear but also underscores Clarice’s vulnerability. The findings of the research indicate that parallel editing in The Silence of the Lambs is deployed not merely to represent the simultaneity of events, but as a narrative and cognitive mechanism that plays a significant role in shaping the viewer’s perceptual experience. By establishing semantic relationships between two or more independent situations, this technique steers the audience toward particular interpretations and, through the creation and subsequent disruption of expectation and suspense, generates surprise and intensifies dramatic impact. Moreover, analysis of the film’s final sequence reveals that parallel editing, by inducing a false simultaneity between the police operation and the protagonist’s presence elsewhere, guides the viewer along a specific interpretive trajectory; then, as reality is disclosed, the gap between perception and reality is transformed into one of the film’s most central themes. This process not only heightens narrative tension and fosters viewer identification with the characters but also expands the film’s layers of meaning. Consequently, it can be argued that parallel editing in The Silence of the Lambs is not merely an executive technique, but one of the fundamental pillars of the film’s narrative system and meaning-producing apparatus. Through the organization of time and space, the regulation of information flow, the guidance of viewer expectations, and the creation of a cognitive experience, it plays an essential role in shaping the story world, deepening psychological dimensions, and enhancing the work’s dramatic effectiveness—thereby contributing decisively to the film’s lasting impact and artistic quality. تدوین به عنوان یکی از بنیادی‎ترین عناصر زبان سینما، نقشی تعیین‎کننده در سازمان‎دهی روایت، هدایت ادراک مخاطب و شکل‎گیری معنا در جهان داستان فیلم ایفا می‎کند. در میان تکنیک‎های مختلف تدوین، تدوین موازی به دلیل قابلیت ایجاد هم‎زمانی رویدادها، برقراری ارتباط میان خطوط روایی و هدایت ذهن مخاطب، از مهم‎ترین ابزارهای معناسازی در سینما به شمار می‎رود. پژوهش حاضر با هدف بررسی نقش تکنیک تدوین موازی در شکل‎گیری معنا در جهان داستان فیلم و با مطالعه موردی فیلم سینمایی سکوت بره‎ها انجام شده است. مسئله اصلی پژوهش آن است که این تکنیک چگونه فراتر از کارکرد روایی خود، در تولید معانی ضمنی، ایجاد تعلیق، هدایت ادراک مخاطب و تقویت لایه‎های روان‎شناختی اثر نقش‎آفرینی می‎کند. این پژوهش با استفاده از روش توصیفی ـ تحلیلی و با رویکرد نئوفرمالیستی انجام شده و داده‎های آن از طریق منابع کتابخانه‎ای، مشاهده دقیق فیلم و تحلیل محتوای بصری و روایی سکانس‎های منتخب گردآوری شده است. در این راستا، ساختار تدوین سکانس‎های کلیدی فیلم مورد تحلیل قرار گرفته و نحوه ارتباط میان چینش نماها، مدیریت زمان و مکان، هدایت اطلاعات و تأثیر آنها بر فرایند معناپردازی بررسی شده است. یافته‎های پژوهش نشان می‎دهد که تدوین موازی در فیلم سکوت بره‎ها صرفاً برای نمایش هم‎زمانی وقایع به کار نرفته، بلکه به عنوان سازوکاری روایی و شناختی، نقش مهمی در شکل‎دهی تجربه ادراکی مخاطب ایفا می‎کند. این تکنیک با ایجاد روابط معنایی میان دو یا چند موقعیت مستقل، مخاطب را به سمت برداشت‎های خاص هدایت کرده و از طریق ایجاد انتظار، تعلیق و سپس برهم‎زدن آن، به خلق غافلگیری و تشدید تأثیر دراماتیک منجر می‎شود. همچنین تحلیل صحنه پایانی فیلم نشان می‎دهد که تدوین موازی با القای هم‎زمانی کاذب میان عملیات نیروهای پلیس و حضور شخصیت اصلی در مکانی دیگر، مخاطب را در مسیر تفسیری مشخص قرار داده و سپس با آشکار شدن واقعیت، شکاف میان ادراک و واقعیت را به یکی از مهم‎ترین مضامین فیلم تبدیل می‎کند. این فرایند نه‎تنها موجب افزایش تنش روایی و همذات‎پنداری مخاطب با شخصیت‎ها می‎شود، بلکه لایه‎های معنایی اثر را نیز گسترش می‎دهد. در نتیجه می‎توان گفت تدوین موازی در سکوت بره‎ها صرفاً یک تکنیک اجرایی نیست، بلکه یکی از ارکان اصلی نظام روایت و سازوکار تولید معنا در فیلم به شمار می‎رود که از طریق سازمان‎دهی زمان و مکان، کنترل جریان اطلاعات، هدایت انتظارات مخاطب و ایجاد تجربه‎ای شناختی، در شکل‎گیری جهان داستان، تعمیق ابعاد روان‎شناختی و افزایش تأثیرگذاری دراماتیک اثر نقشی اساسی ایفا کرده و سهمی تعیین‎کننده در ماندگاری و کیفیت هنری این فیلم دارد.

https://rpa.soore.ac.ir/article_736228_00016ce8de4934b8fd5fd7e12f3cd0a9.pdf

دانشگاه سوره رهپویه هنرهای نمایشی 2821-2096 6 20 2026 06 22 A Comprehensive Analysis of the Literary and Dramatic Features of the Ta’ziyeh of Imam Reza (PBUH) by Rajaei Zafarehei (Based on Manuscript No. 11002 of the University of Tehran) تحلیل کلان‌ویژگی‌های ادبی و نمایشی در تعزیۀ امام رضا(ع) سرودۀ رجایی‌زفره‌ای (براساس نسخۀ شمارۀ 11002 دانشگاه تهران) 79 92 732227 10.22034/rpa.2025.2075840.1196 FA حامد عباسی دکتری زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه شیراز، شیراز، ایران 0000-0002-3630-6410 محمد مرادی دانشیار، گروه زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه شیراز، شیرازۀ ایران 0009-0003-0964-7935 Journal Article 2025 10 31 In the Islamic period, with the prevalence of writing Maqtal, which was mainly about the events of Ashura, the tradition of composing and writing ritual works continued, and later in the ninth century, with the book Rawda al-Shuhada by Kashefi, it reached its peak and even surpassed the works written after it. It should be noted that the attention of political authorities to Ta’ziyeh from the Safavids to the end of the Pahlavis was accompanied by ups and downs. The roots of ritual performances are repeatedly mentioned in literary chronicles, and usually the common proposition among them is that ritual performances in the general sense in Iran go back to centuries before Islam. If Ta’ziyeh is not initially considered a ritual performance, the continuation of Ta’ziyeh in its non-Islamic and general sense can be traced back to centuries before Islam and, in its specific meaning in the Islamic era, at least in a specific way, to the first century of the Hijri lunar calendar. Of course, Ta’ziyeh, in the form that can be called a performance today, far from being considered a mere ritual, is not very old according to some researchers and dates back to the era of Karim Khan Zand and ultimately the Safavids. On the other hand, the definitions of Ta’ziyeh found in various sources usually consider it to be a type of Iranian-Shiite performance whose content, regardless of the methods of processing the structure, is based on religious teachings. Ta’ziyeh is important not only from historical-social and literary-performance perspectives but also, since it narrates about a specific religion, it also represents a type of ritual and religion. From the perspective of literary types, it can also be claimed that Ta’ziyeh is one of the main sub-genres of Shiite literature, which has been popular among the Iranian masses, especially since the end of the Safavid era, due to its importance in dramatic literature. This importance and social status have caused many orators and poets associated with the masses, especially since the Qajar era, to create numerous texts on the subject of the martyrdom of the Ahl al-Bayt and their lives (PBUT) in the form of poetic plays. Many of these works have been recorded in manuscripts and have received less attention in the course of dramatic art. On the other hand, the existing manuscripts of Ta’ziyeh and parallel research in the field of Ta’ziyeh studies generally focus on the tragedy of Karbala, and less attention has been paid to other topics such as the tragedies of other Imams (PBUT). Mohammad Ali Rajaei Zafarehei (1281 AH-1361 AH) is one of the prominent religious poets of the late Qajar and early Pahlavi eras. He composed numerous works in the field of Ta’ziyeh, and despite his literary position in the field of Ta’ziyeh, his works have been less introduced and published. Accordingly, in the present study, based on one of his lesser-known Ta’ziyehs in mourning for Imam Reza (PBUH), an attempt has been made to discover missing links in the research on the history of Ta’ziyeh during the middle of his lifetime, and in the process, some literary features of this influential literary genre are introduced by analyzing Rajaei Zafarehei’s work as a perfect example of literary Ta’ziyehs of the late Qajar era. To achieve this goal, after a general study of Ta’ziyeh, the text of Rajaei Zafarehei’s Ta’ziyeh has been analyzed in detail in two areas: literary features and dramatic elements using the method of content analysis. The most important results that can be obtained from this study are that, in comparison to many poets of the Qajar era, Rajaei Zafarehei has tried not to limit himself to expressing moods and imaginations in this work and his other compositions and has been able to display various aspects of Shiite identity through narrations and dialogues. One of the most important manifestations of his effort is the use of content-related and structural strategies to give the supporters an advantage over the opponents. It seems that the main difference between Ta’ziyeh as a native type of play and Western play is more related to the arrangement and editing of content, and generally the differences between the two have not been related to formal structures. It can also be analyzed that the greater attention paid to topics related to the tragedy of Karbala in Ta’ziyeh is probably due to the greater poignancy of that event in terms of the magnitude of the subject matter, as the Shiite world still holds Muharram more dear than other days of mourning. Obviously, this does not mean lowering the status of any of the Ahl al-Bayt (PBUT) in the art of Ta’ziyeh. Perhaps it is because of the sacred view of the characters in Ta’ziyeh that the kind of sophistication that is seen in the characterization of the characters in Western works is not very tangible in Ta’ziyeh. This is probably because in Western drama, the poet’s goal is generally to elevate the dramatic art of the work, while in Ta’ziyeh, since the main goal of the poet is to mention the tragedy and express completely religious and heavenly themes, he does not prioritize the artistic issues of the play and does not pay attention to the formal characteristics of the play and its art. This issue also shines outside of the play in the poetic techniques of Ta’ziyeh, so much so that Rajaei Zafarehei’s version, despite his poetic concern for the order of the play, cannot be considered among the first-rate brilliant works of the Qajar era in terms of literary grandeur, although its various valuable literary and non-literary aspects indicate the importance of the Ta’ziyeh’s position. The final point is that Rajaei Zafarehei’s Ta’ziyeh sheds light on one of the neglected aspects of Shiite dramatic literature for the audience. The importance of Imam Reza’s (PBUH) Ta’ziyeh and the relative strength of this work in comparison to other Ta’ziyehs on the same subject are some of the points that we have reached through this research. It should also be said that Rajaei Zafarehei’s Ta’ziyeh, in addition to its relative literary strength, also has capabilities from the perspective of dramatic elements that have received less attention. The final finding is that, due to his mastery of literary principles, unlike many Qajar era Ta’ziyeh writers, he insists on observing literary standards in his poems. He has included three components of impact on the audience, attention to the religious content prevalent in the era, and observance of general literary features such as meter and rhyme as the principles of his Ta’ziyeh art and has tried to create a relative diversity in the field of meters and musical elements of speech; however, the difference in the dramatic field in his work from the style of modern plays on the one hand, and the religious concern in observing relvigious meanings in his works have caused that, from a literary perspective, his works cannot be placed at the forefront of Iranian dramatic literature of the last two hundred years. Despite all these points, one of the main findings in the study of his Ta’ziyeh’s is the necessity of introducing and publishing his gatherings as works in the transition from traditional dramatic art to the contemporary era. تعزیه یکی از زیرگونه‎های اصلی ادبیات شیعی است که به دلیل اهمیتش در ادبیات نمایشی، میان تودۀ ایرانیان به‎ویژه از پایان عصر صفویه مقبولیت داشته است. این اهمیت و جایگاه اجتماعی سبب شده است که به‎ویژه از دوران قاجار، بسیاری از سخنوران و شاعران مرتبط با تودۀ مردم، متون متعددی را با موضوع شهادت اهل‎بیت و زندگانی ایشان(ع) در قالب نمایش منظوم بیافرینند و بسیاری از این آثار، در قالب نسخ خطی ثبت شده و کمتر به آنان در سیر هنر نمایشی توجه شده است. از سویی دیگر، دست‎نوشته‎های موجود از تعزیه‎ها و به‎موازات آن پژوهش‎های حوزۀ تعزیه‎شناسی، عموماً پیرامون مصیبت کربلاست و کمتر به دیگر موضوعات نظیر مصائب دیگر امامان(ع) و شخصیت‎های تاریخی و ملی پرداخته شده است. محمدعلی رجایی‎زفره‎ای (1281ق-1361ق) از شاعران دینی و تعزیه‎سرایان شاخص پایان دوران قاجار و پهلوی اول است که آثاری متعدد در حوزۀ تعزیه سروده و با وجود جایگاه ادبی‎اش در هنر تعزیه‎نگاری آثار او کمتر معرفی و تحلیل شده است. بر این اساس، در پژوهش حاضر با مبنا قراردادنِ یکی از تعزیه‎های کمتر شناخته شدۀ او در سوگ امام رضا(ع) بر اساس نسخۀ شمارۀ 11002 دانشگاه تهران، سعی شده است، حلقه‎هایی مفقود از تحقیقات تاریخ تعزیه در حد واسط دوران حیات او کشف شود و در خلال آن، برخی ویژگی‎های کلان ادبی و نمایشی این گونۀ تأثیرگذار ادبی بر اساس الگوی صادق همایونی و با تحلیل اثر زفره‎ای در جایگاه نمونه‎ای تمام‎عیار از تعزیه‎های ادبی پایان دوران قاجار، معرفی شود. برای نیل به این مقصود، پس از بررسی‎هایی کلّی دربارۀ تعزیه، متن تعزیۀ رجایی زفره‎ای، به صورتی مفصل در دو دایرۀ خصایل ادبی و عناصر نمایشیِ تعزیه واکاوی شده است. مهم‎ترین نتایجی که از این جستار به دست آمده به اختصار چنین است: از حیث ادبی، اعم از سطوح واژگانی و دانش‎های شعری، این اثر را می‎توان نسبت به دیگر تعزیه‎های امام رضا(ع) اثری پخته‎تر، شاعرانه‎تر و منسجم‎تر در نظر گرفت، اگرچه نسبت به آثار تراز اول ادبیات فارسی این اثر، جایگاهی متوسط دارد. از نظر نمایشی باید گفت که برخی مؤلفه‎های نمایشی تعزیه نظیر گفت‎وگوهای عزادارانه و اختصاص بخش عمدۀ تک‎گویی‎ها به موافق‎خوانان به‎خوبی در این اثر رعایت شده است. در کل، این تعزیه از منظر تاریخ ادبیات شیعی و همچنین سنت‎ ادبیات نمایشی ایرانی، اثری مهم و مؤثر است.

https://rpa.soore.ac.ir/article_732227_6a742705970feec40aae2cb74fb51e37.pdf