ما-روایتگر در زاویه‌دیدهای ترکیبی: شاخصه‌هایی برای تمایز روایت‌های جمعی و غیر جمعی
محورهای موضوعی : پژوهشهای ادبیات معاصر ایران
نسترن شهبازی
1
,
محمد پارسانسب
2
1 - دانش‌آموخته دکتری گروه زبان و ادبیات دانشگاه خوارزمی، ایران
2 - استاد گروه زبان و ادبیات دانشگاه خوارزمی، ایران
کلید واژه: روایت جمعی, ما-راوی, عناصر داستان, زاویه‌دید ترکیبی و ادبیات داستانی معاصر فارسی.,
چکیده مقاله :
ما-روایت با کارکرد عنصر زاویه‌دید در داستان می‌تواند به اشکال گوناگونی بروز یابد. یکی از این کارکردها در صورتی حاصل می‌شود که داستان از دو یا چند زاویه‌دید برای روایتگری بهره ببرد و یکی از این زاویه‌دیدها، با ما-راوی ارائه گردد. در این صورت اصالت‌بخشی به یکی از این زاویه‌دیدها، چندان ساده نخواهد بود. در واقع موقعیّت بینابین یادشده به الگویی نیاز دارد تا بتوان با تمسّک به آن، روایت جمعی را به‌مثابه کنش روایی ما-راوی از روایت غیرجمعی که محصول دیگر زاویه‌دیدهای داستانی است، متمایز کند. پژوهش پیش‌ِ رو درصدد است تا با روشی استنتاجی و با بهره‌گیری از روایت‌های گزینش‌شده‌ای از پیکرة ادبیات داستانی فارسی، به این وضعیّت بپردازد. نتیجة چنین مطالعه‌ای که با استفاده از عناصر داستانی و گفتمانی، روایت‌ها را مورد خوانش قرار می‌دهد، چهار عامل را به عنوان شاخصه در مسئلة مدّنظر معرفی می‌کند. این شاخصه‌ها که ناظر بر جنبه‌های صوری و محتوایی روایت‌ها هستند، نشان می‌دهند که داستان برای جمعی تلقّی شدن، نیازمند نمایش گستردة ما-روایت است. گروه ارائه‌دهندة ما-روایت باید نسبت به سایر عناصر روایتگرانة داستان، ارجح باشند، دربارة موضوع کانونی، تفکری هم‌راستا داشته باشند و در کنشگری خود، یکپارچگی را بازتاب دهند.
The function of the We-Narrative with the element of perspective in storytelling can take various forms. One of these functions occurs when the story employs two or more points of view for narration, and one of them is presented by the We-narrator. In this case, authenticating one of these points of view is not straightforward. In fact, the intermittent position mentioned requires a pattern to differentiate collective narration as the narrative action of the We-narrator from non-collective narration, which is the product of another story's point of view. The present research aims to address this situation using an inferential method and by utilizing selected narratives from the corpus of Persian fictional literature. The result of such a study, which examines narratives through story and discursive elements, introduces four factors as indicators of the problem under consideration. These indicators, which pertain to the formal and content aspects of the narratives, demonstrate that the story requires extensive representation of the We-narrator to be perceived as collective. The collective narrator presenters must prioritize the other elements of storytelling, align with the central thematic issue, and reflect coherence in their agency.
Keywords: Collective narration, We-narrator, Story elements, Complementary Point of View, Contemporary Persian Fiction.
Introduction
A shift in narrative perspective allows the author to break free from conventional constraints, enabling the incorporation of sub-narratives into the story without compromising its narrative logic. The We-Narrative is one such functional sub-narrative, often utilized by writers as part of the Complementary Point of View within novels or longer narratives that primarily employ either first-person singular or third-person omniscient perspectives.
From this standpoint, altering the narrative point of view can also transform the story’s perspective, thereby deeply influencing the narrative form. This may explain the increasing use of hybrid perspectives in contemporary storytelling. However, studies on collective narration have yet to establish clear distinctions in cases where stories do not exclusively rely on the We-Narrative but instead combine it with other perspectives.
The present study addresses this apparent ambiguity in distinguishing between collective and non-collective narratives, particularly in instances where a single story employs both a We-Narrator and other perspectives concurrently. In other words, this comparative study aims to establish criteria for identifying We-Narratives within hybrid perspectives. One of the most significant challenges in studying We-Narratives arises when the story employs a first-person plural narrator and another narrator. Addressing this issue requires developing a model with a solid conceptual foundation that can encompass a range of literary works. Given the unique characteristics of collective narration—many of which manifest in the collective identity of the narrator—this model must provide evaluative criteria that consider both content-based aspects (the collective identity of the narrator) and formal aspects (its representation as a We-Narrator).
Literature Review
Research on We-Narratives in Persian literature began with the seminal study by Jahedjāh and Rezāei “(2013) A Theoretical and Practical Study on "First Person Plural Narrative" (in Five Short Stories of Hooshang Golshiri)”. In this study, the authors draw on the perspectives of three narrative theorists—Uri Margolin, Brian Richardson, and Amit Marcus—to introduce and categorize different types of first-person plural narration, using examples from Golshiri’s short stories.
Subsequent studies by Shahbazi and colleagues have provided ongoing and focused analyses of contemporary Persian literary works, aiming to elucidate various aspects of We-Narrators and We-Narratives. These studies include:
- We Narrator of 'Khane Roshanan" by Golshiri: A Causative Analysis (2020)
- We Narrator Linguistic Potentials: First-person Plural Practicality in Narration (2022)
- ‘Sharhi bar Qasideye Jamaliye’ or a Describing the Narration of a Collective Story (2023)
- In the way of "Us" with them; Structural semiotic of "Malakh" by Houshang Golshiri (2024)
However, these studies have established criteria for distinguishing collective narratives from non-collective ones. Still, no research has specifically examined collective narration within hybrid perspectives to differentiate We-Narratives based on narrative elements.
Methodology
This study examines three selected stories that employ a combination of first-person singular and first-person plural perspectives while differing in their frequency of usage of these perspectives. These stories have been purposefully selected to showcase the diverse ways in which We-Narration is employed. Narratives that combine first-person plural and third-person perspectives have been excluded because, from a discourse perspective, first-person singular/plural combinations demonstrate greater structural complexity and less obvious distinctions between narrators. However, to enhance the discussion, at least one example of a story written in this manner will be briefly reviewed. For a more precise analysis, this study draws on Jaap Lintvelt’s (2019) theoretical framework on narrative structures.
Discussion
In the short story “Bi-Matarsak” by Ali Ghobishavi, the author combines a We-Narrative—which occasionally shifts focus to a single member of the group—with a third-person limited perspective. The clear narrative markers in the text emphasize shifts in perspective.
“Sharhi bar Qasideh Jamaliyeh” centers around the arrival of a caravan of camels in a northern city. The We-Narrator of this story—composed of an initial “I” that transitions into a distinct collective “We”—attempts to recount how the town resolved its disorder. Structurally, this narrative combines first-person singular and first-person plural perspectives.
In “Julie and Julia”, the narration consists of two distinct first-person singular voices and a shared We-Narrator. Throughout most of the story, events and actions are described collectively, yet the “I” narrator is never entirely absent.
In “Goharbaran”, the first-person narrator alternates between past and present, forming a We-Narrative with different groups (first with his spouse and later with his uncle’s family) while remaining an isolated “I” in his thoughts.
A structural analysis of these stories reveals several noteworthy characteristics, suggesting the potential for a formal model to categorize them.
Conclusion
Four key characteristics of technical We-Narratives have been identified, which can serve as a framework for categorizing stories that employ hybrid perspectives:
- The extent of the We-Narrative relative to other perspectives
- The collective agency of the We-Narrator
- The referential authority of the collective in presenting a shared consciousness
- The construction of a collective discourse
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