پژوهش ادبیات معاصر جهان

پژوهش ادبیات معاصر جهان

جادوی لغزندگی راوی؛ تکنیک های روایت گری در عقرب کشی شهریار مندنی‌پور با تکیه بر نظریۀ ژپ لینت‌ولت

نوع مقاله : مقاله علمی پژوهشی

نویسندگان
1 گروه تخصصی زبان انگلیسی و زبان‌شناسی، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران.
2 گروه زبانشناسی، دانشکده علوم انسانی، دانشگاه سمنان، سمنان، ایران.
10.22059/jor.2026.406244.2773
چکیده
رمان عقرب کشی شهریار مندنی‌پور از برجسته ترین نمونه های روایت پردازی نو در ادبیات معاصر فارسی است که با ساختار سیال و چندلایه، تحلیل های روایی سنتی را به چالش می کشد. مسئلۀ اصلی پژوهش بررسی پدیدۀ "لغزندگی راوی" در این رمان است که در آن مرز میان راوی و شخصیت درهم می ریزد و جایگاه دانایی راوی ناپایدار می گردد. روش پژوهش توصیفی_تحلیلی است و بر چارچوب گونه شناسی روایت لینت ولت همراه با ایده های چندصدایی باختین استوار است. یافته های پژوهش نشان می دهد نویسنده با چهار مکانیسم اصلی: تداخل آگاهانۀ سطوح روایی، استفاده از راویان چندگانه، شکست مرز میان گفتار و ذهن، ایجاد ناپایداری در کانونی شدگی، پدیدۀ "لغزندگی راوی" را خلق می کند. این شیوه ها علاوه بر کارکرد زیبایی شناختی، پاسخی به بحران بازنمایی واقعیت در جهان مدرن و پسامدرن اند و همچون ابزاری برای مقاومت در برابر روایت های کلان و ایدئولوژیک عمل می کنند. نتیجه گیری پژوهش نشان می دهد لغزندگی راوی در عقرب کشی صرفاً تکنیکی روایی نیست، بلکه راهبردی سبک شناختی و معرفت شناختی است که مرز میان واقعیت و زبان، عینیت و ذهنیت، فردیت و جمع را مخدوش می سازد و الگویی تازه برای روایت های ذهن محور، چندآوا و شاعرانه در داستان نویسی معاصر می آفریند.
کلیدواژه‌ها
موضوعات

عنوان مقاله English

The Magic of Narrative Fluidity: Narrative Techniques in Shahriyar Mandanipour’s Aghrab Keshi Based on Jaap Lintvelt Theory

نویسندگان English

Ayda Izadabadi 1
Hossein Razavian 2
Mahnaz Karbalaei Sadegh 1
1 Department of English Language and Linguistics, Science and Research Branch, Islamic Azad University, Tehran, Iran.
2 Department of Linguistics, Faculty of Humanities, Semnan University, Semnan, Iran.
چکیده English

Shahriar Mandanipour’s novel Aghrab keshi stands as one of the most significant examples of innovative narrative experimentation in contemporary Persian fiction, challenging conventional analytical models through its fluid and multilayered structure. The central issue of this study is the phenomenon of “narrative fluidity,” a mode in which the boundaries between narrator and character collapse and the narrator’s position of knowledge becomes unstable. The research employs a descriptive-analytical method grounded in Jaap Lintvelt’s typology of narrative, complemented by Mikhail Bakhtin’s concept of polyphony. Findings indicate that Mandanipour constructs narrative fluidity through four key mechanisms: the deliberate overlap of narrative levels, the use of multiple narrators, the erosion of boundaries between speech and thought, and the creation of instability in focalization. These strategies serve not only aesthetic functions but also respond to the crisis of representing reality in modern and postmodern contexts, functioning as a mode of resistance against dominant ideological and totalizing narratives. The study concludes that narrative fluidity in Aghrab keshi is not merely a technical device but a stylistic and epistemological strategy that blurs the boundaries between reality and language, objectivity and subjectivity, and the individual and the collective. As such, it offers a new model for mind-centered, polyphonic, and poetically inflected storytelling in contemporary Persian narrative fiction.

کلیدواژه‌ها English

Narrative Fluidity
Narrative typology
Jaap Lintvelt
. Shahriyar Mandanipour
Aghrab keshi
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