چکیده:
بررسی مکاشفه به عنوان یک الگوی نمایشی، با توجه به داستانی و تصویرگونه بودن این مقوله، هدف
اساسی پژوهش پیش رو می باشد. از آنجایی که مکاشفه در فرهنگ و ادبیات جهان جایگاه تاریخی دارد
و در ادبیات ایران در عرصۀ ادبیات عرفانی دیده می شود، این تحلیل با توجه به ویژگی های فرهنگی
مکاشفه و نیز خصوصیات ادبی دوران بررسی شده است. در ادامه، به منظور یافتن ظرفیت نمایشی
مکاشفه، چگونگی اقتباس نمایشی از نگاه نوساختگرایانۀ لیندا هاتچون و نیز ساخت درام از نگاه لین
شمیت در چهارچوب نظری این پژوهش مورد استفاده قرار گرفته است. آنچه در تطبیق روایت داستانی
مکاشفه با نوعی الگوی نمایشی موردتوجه بوده، ساخت تودرتوی مکاشفه و بهم ریختگی دو عنصر مهم
زمان و مکان بوده است. با بررسی این دو عنصر در شگرد روایت داستان های مکاشفه گونه، می توان
قابلیت پرداخت نمایشی را در این گونه از روایات جست وجو کرد. با توجه به بررسی توصیفی- تحلیلی
پیش رو، نتیجۀ به دست آمده در قالب نوعی الگوی نهایی برای دراماتیزه کردن موقعیت مکاشفه
ارائه شده است. در نهایت، هدف از نگارش و انجام این تحقیق، رسیدن به قابلیت های نمایشی از دل
تصویرپردازی های مکاشفه گونۀ موجود در ادبیات عرفانی ایران می باشد تا ظرفیت اقتباس نمایشی از
این آثار افزایش یابد.
Studying revelation as a dramatic pattern, due to its imaginary, fantasy and mysterious concept
and form, is the main concern of this research. The concept of revelation has an historical
and universal position in culture and art that’s why in the background of this research the
meaning of revelation is explained through different aspects. But even in this part of the
research, the focus is on the literary elements and mystic meanings and elements of this kind
of stories rather than historical or religious aspects of revelation in history. After finding a
universal meanings of revelation the analysis will continue explaining revelation in the main
culture and literature of this research which is Iranian mystic literature. Since Revelation has a
special appearance in Iranian mystic literature, this research considers the cultural and literary
properties of revelation in the mystic literature of Iran which has a great importance in the
whole history of Iranian literature and is one of the most brilliant periods of culture and
literature.
In the following, to get closer to the target of this research, the revealing nature of revelation
is linked to drama as a form of literature which tries to show and reveal a concept to audiences.
That’s why the main question is how we can use revelation for a dramatic revealing form of
a dramatic piece or use a story with this form of narrating for a dramatic adaption. For this
reason, the narrative pattern of revelation in this analysis will be argued with paying attention
to the elements of revelation and artistic features of this literary form. In the main thesis of
this analysis what is really questioned is the dramatic capabilities of revelation. This question
is searched through all main terms of dramatic literature in the main thesis but the result
was more controversial in the exclusive narrative pattern of revelation which could be shown
in drawing pattern referring to the most popular dramatic narrative form in the history of
dramatic literature which is the beginning, the climax and the ending. Considering time and
space as two principles of a dramatic narration, these two elements is analyzed in revelation
narrative form. In order to find out the dramatic capacity of revelation narrative pattern and
the use of time and space in it, the theoretical framework is based on Linda Hutch eon and
Lynn Schmidt’s neo-structuralism view in dramatic adaption. In the process of adaptation
from revelation to some sort of dramatic pattern, the two main elements of time and place
which is completely disorganized and involute is what has been centralized as a method in
revolutionary narratives. Considering the descriptive analytic form of this research, the results
will be shown in the form of a template or pattern for dramatizing revelation. Eventually, the
main target in this research is finding some sort of dramatic capabilities from the imaging
revelation scenes and stories to increase the choice of creating a dramatic adaption from it.