اقتباس پسااستعماری، تقلید یا بومی‎سازی؟تجلی مرگ فروشنده اثر میلر در فیلم فروشندۀ فرهادی

نوع مقاله : مقاله علمی پژوهشی

نویسندگان

1 کارشناس ارشد زبان و ادبیات انگلیسی، دانشگاه فردوسی مشهد، مشهد، ایران

2 دانشیار ادبیات انگلیسی و مطالعات فرهنگی، دانشگاه فردوسی مشهد، مشهد، ایران

3 استاد ادبیات انگلیسی و ادبیات تطبیقی دانشگاه کالیفرنیا، لس آنجلس، آمریکا

چکیده

در تاریخ سینمای ایران فیلم‌های اقتباسی متفاوتی تولید شده است. ارتباط بین فیلم فروشندۀ اصغر فرهادی (1395)، به عنوان اقتباسی از مرگ فروشنده اثر آرتور میلر(1949) با نقدهای متفاوتی در ایران و غرب روبه رو شد. یافتن علت تنش بین گفتمان‌هایی که فیلم را نقد و بررسی کرده‌اند، هدف اصلی نگارش این مقاله است. با رویکردی پسااستعماری، بالاخص با عنایت به نظرات هومی بابا ( - 1949)، اثر فرهادی را در جهت روشن کردن رابطۀ میان غرب و شرق در سینمای ایران بررسی می‌کنیم. در این پژوهش، اقتباس فرهادی به عنوان تقلیدی از مرگ فروشندۀ میلر در نظر گرفته می‌شود؛ با مطالعۀ دقیق متن نمایشنامه و فیلم فرهادی، این نتیجه حاصل می‌شود که اقتباس فرهادی صرفاً تقلیدی هومی بابایی از یک نمایشنامۀ آمریکایی نیست و بین مفاهیم بومی سازی و فضای سوم، شناور است. عناصر فرهنگی و اجتماعی غربی و ایرانی در این فیلم به گونه‌ای در کنار هم قرار گرفته‌اند که هم برای مخاطب ایرانی ملموس باشد و هم برای بییندۀ غربی تداعی کنندۀ مرگ فروشنده‌ باشد.

کلیدواژه‌ها

موضوعات

عنوان مقاله [English]

Postcolonial Cinematic Adaptation, Mimicry, or Indigenization? Miller’s Death of a Salesman in Farhadi’s Salesman

نویسندگان [English]

  • Sima Zafaranchi 1
  • Azra Ghandeharion 2
  • Ali Behdad 3
1 Master of English Language and Literature, Ferdowsi University of Mashhad
2 Associate Professor of English Literature and Cultural Studies, Ferdowsi University of Mashhad
3 Professor, Department of Comparative English Literature, University of California, Los Angeles
چکیده [English]

Various adaptations are found in the history of Iranian cinema. The connection between Asghar Farhadi’s The Salesman (2016) and Arthur Miller’s Death of a Salesman (1949) was reviewed disparagingly and appraisingly in Iran and the West. Finding the cause of the tension between these contradictory discourses is the main purpose of this paper. With a post-colonial approach, especially with regard to Homi Bhabha’s (1949- ) views, we scrutinize The Salesman to clarify the relationship between the West and the East in Iranian cinema. It is revealed that Farhadi’s adaptation is a mimicry of Miller’s Death of a Salesman; with a close comparative analysis of the text of the play and Farhadi’s film, it is concluded that The Salesman is not merely a Bhabhaian mimicry of an American play but a third space that floats between the concepts of indigenization and mimicry. The interweavement of Western and Iranian cultural and social elements in this film creates a work that is tangible for both the Iranian and the Western audience.

کلیدواژه‌ها [English]

  • adaptation
  • Farhadi&rsquo
  • s The Salesman
  • Miller&rsquo
  • s Death of a Salesman
  • mimicry
  • indigenization
  • third space

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پژوهش ادبیات معاصر جهان
دوره 26، شماره 2
بهمن 1400
صفحه 454-485

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