چکیده:
مفهوم "منظر" به عنوان حقیقتی عینی» ذهنی و واجد دو وجه مفعولی
و فاعلی در تعریف نسبت انسان با محیط. از دیرباز به عنوان یکی از مفاهیم اصیل
درفرهنگ و زبان ایرانی وجود داشته است. حضور مکرر واژة منظردرادبیات
ایران، با گسترهای وسیع از معانی که میتوانند آن را به مفهومی پویا تبدیلکنند.
به قدمت و اهمیت این مفهوم در فرهنگ و تمدن ایرانی اشاره دارد. در ادبیات
قدیم» حضور منظر را بیشتر میتوان در وجه مفعولی آن مشاهده کرد. در وجه
مفعولی شاهد نگاهی هستیم که ناظر به محیط دارد و حاصل تشخص بیانی
و گزینشگری او از مجموعه پدیدههای محیطی است که در برابردید خود قرار
داده است. در دور معاصر با برخاستن نیما پوشیج و ارایهد الگویی نو درادبیات.
اندیشه و عملکرد وی» نقطه عطفی در تکامل مفهوم منظر در ادبیات فارسی به
وجود آورد. نیما با پیش نهادن بیان "نمایشی" در برابر بیان "روایی" در ادبیات و
تعامل دوسویه و گفتگوی دوجانبه بین شاعرو محیط جایگزین توصیف و تفسیر
صرف و یک سویه او از محیط شد. شاعر در تعریف نیما نه فقط روایتگر طبیعت.
بلکه درحال گفتگو با آن است. تغییر زاویه دید در شعر نیمایی، از موضوعهای
میکند. زیرا درآن» محیط هم منظور ناظرو هم ناظرآن است. دیده و توصیف
میشودء میبیند و سخن میگوید.
The signification of landscape as a concrete and conceptual fact has objective and subjective figures to define the relation of man and the environment. This signification as a very important concept from the pastexists in the culture and language of Iran. Frequent appearances of the word “Manzar” in Persian literature with a large width of meanings that can change it to active signification is an evidence to confirm its importance and antiquity of in Persian culture and civilization. In ancient Persian literature the concept of landscape is mostly seen in the meaning of objective figure. In objective figure see the observer looks at the environment as it is the result of his distinction explanatory and selectivity among the environmental objects visible in a scene. In the contemporary age “Nima” rose and suggested a new pattern in literature I a way that his opinion and function can form a pivot in evolution of the landscape in Persian literature. Nima created a new look to the nature in the culture of Iran with suggestion of the dramatic expression against the narrative expression. In this view، the direct description and comment of environment was replaced with reciprocal association and reciprocal conversation between the poet and the environment. In Nima’s opinion the “poet” isn''t only the narrator of nature but is in the mood of dialogue with it. Changing in the point of view is a very important subject in Nimayi poems. The subjective meaning of landscape is formed in the contemporary literature since the environment is both observer and aim and seeing and describing is as to be seen and to be described. “Landscape” as a concept that have special instance in the language have a long attendance in Persian literature، an attendance that is an evidence in comprehension of this concept in the Iranian thought. The association of Iranian man with the nature and the way it has been associated in the foundations of Iranian civilization، makes the concept of “manzar” an evidence of that relation. Words like “manzareh”، “monazereh” ، “nazargah” and other word like them are derived from the base of “nazar” and the concepts estimated from them demonstrates the point that Iranian mind have an active and relative definition from that word. We can find this activation in the two-sided function of that word. “Landscape” in Persian literature has three meanings. With that rich and impressive attendance of “landscape” concept in the Persian culture، art and literature we can assume that concept _ with the up-to-date definition in the scientific circles _ is the pivotal base in Iranian literature، that is the dramatic expression in Nimayi poem. Dramatic literature permits the modern literature to make the concept of “landscape” in both two faces of objective and subjective.