چکیده:
La femme et la féminité en tant qu'incarnation de la fertilité ont toujours joué un rôle
décisif dans les mythes, les religions et les formes primitives de la vie humaine; cette catégorie présente dans la littérature persane sous la forme du culte de la déesse des femmes iraniennes, dont la plus célèbre est l’archétype d’Anahita. Selon Jung, la représentation subconsciente de cet archétype est due à la manifestation de l'anima. Anima est en fait l'aspect féminin de subconscient d'un homme qui provient de l'inconscient collectif. Cette recherche se donne pour tâche de familiariser le lecteur avec la théorie des archétypes de Jung, en particulier l'archétype de l’anima dans les poèmes de Shamlou. Donc, nous analyserons d’abord la totalité des théories de Jung sur la féminité et les archétypes, puis nous examinerons la fonction de l'anima dans les poèmes de Shamlou. En considérant des conditions sociales, culturelles, la personnalité et la vie du poète, la question que se pose cette étude est de savoir comment et dans quelle mesure l’archétype de l’anima est utilisé dans les poèmes de Shamlou et quelles sont les différentes formes de l’archétype de la féminité et ses aspects positifs et négatifs dans ses poèmes.
زن و زنانگی به عنوان جنبههای باروری و حیات همواره در اساطیر، ادیان و صورتهای ابتدایی حیات بشری نقش تعیین کنندهای داشتهاند و این امر در ادب فارسی با داشتن سنت بسیار مستحکمی که در پیش زمینهاش، پرستش ایزد بانوان ایرانی که مشهورترین انها اناهیتاست؛ بازتاب فراوانی داشته است. نمود ناخوداگاه این کهن الگو به گفته یونگ ناشی از تجلی انیماست. انیما در واقع جنبه ناخواگاه زنانه ذهنی یک مرد است که از ناهشیار جمعی سرچشمه میگیرد. این کهن الگو از مهمترین کهن الگوهایی می باشد که یونگ- روان شناس شهیر سويیسی- انرا بررسی کرده است. هدف اصلی از نوشتار حاضر، بررسی نمود انیما در احمد شاملو میباشد. احمد شاملو پرچمدار شعر سپید ایران و از بزرگترین شاعران جهان است که نقش برجستهای در تحول شعر فارسی داشته است. هدف نگارنده از انجام پژوهشی با این عنوان، اشنایی خواننده با نظریه کهن الگوهای یونگ و انعکاس ان در ادبیات، دیدگاه شاعر درباره نمادهای باروری و زندگی و چگونگی استفاده انها از انیما در اشعارش است. همچنین در این جستار، در بررسی انیما و اشکال مختلف کهن الگوهای زنانگی در شعر شاملو بیشتر به نظریه یونگ به عنوان قدیمیترین نظریه در روانشناسی استناد میکنیم.
Woman and femininity as the embodiment of fertility have always played a
decisive role in myths, religions and primitive forms of human life; this category appears in Persian
literature in the form of the cult of the Iranian female goddess, the most famous of which is the archetype
of Anahita. According to Jung, the subconscious representation of this archetype is due to the
manifestation of the anima. Anima is actually the feminine aspect of a man's subconscious that originates
from the collective unconscious. The task of this research is to familiarize the reader with Jung's theory
of archetypes, in particular the archetype of the anima in Shamlou's poems. So, we will first analyze all
of Jung's theories on femininity and archetypes, and then we will examine the function of the anima in
Shamlou's poems. Considering the social, cultural personality and life of the poet, the question posed by
this study is how and to what extent the anima archetype is used in Shamlou's poems and what are the
different forms of the archetype of femininity and its positive and negative aspects in his poems.
Carl Gustave Jung, Swiss psychiatrist and psychologist defined a special division for the human
psyche: the “conscious part” and the “unconscious part”. In the human conscious psyche everything is
examined and measured, but the conscious part relates to the deep and hidden layers of the mind. The
subconscious part is stable, but the conscious part is weak; therefore, the root of all behavior must be
studied in the subconscious.
Jung believes that the subconscious mind is made up of two parts, individual and collective. The
collective subconscious contains wonderful themes and symbols called the primordial form or example.
It should be added that the unconscious includes repressed and inaccessible aspirations that the mind
attracts to this deep part, either because it does not consider them as desirable or does not feel the need
for them. The projection and reflection of these failed desires are the main roots of artistic, literary and
poetic creation.
In the collective unconscious, there are the patterns (eternal of the human soul, the images and
symbols called archetypes and which form the different aspects of psychic energy). The concept of
"archetype" occupies a central place in Jung's research. One of the most important archetypes Jung has
studied is that of the anima. Poets and writers use their mental and imaginative forms to create works of
art, which are rooted in their anima and reach the conscious layers in their minds, introducing the link
between psychology, art and literature.
Abdeshahi F; Mohseni M— Extended abstract : T he Ro le a nd Ma nifes ta t io n o f Anima Arc he t ype in… | 3
Ahmad Shamlou (1925-2000) was known as "Alef. Bamdad" and played a leading role in the evolution of Persian poetry versus modern poetry. He is a poet of love and of society. He was born in 1925 (1304), in Tehran. He had a very difficult childhood.
Shamlou has a private, disorganized and disturbed life. He married three times. The first with Ashraf Islamieh, the second with Toussi Haeri and the last one with Aida Sarkisian who played a very important role in Shamlou's success.
The reflection of the love and the influence of the anima in Shamlou’s poems are visible and his attentiveness is beautiful in his life with Aida.
In the collection of poems L’Air Frais, Shamlou's life with Tusi Haeri can be examined. Well, these poems about love have a degree of maturity; for example, De la blessure du coeur de cher Aman is a poem in which the presence of love is bold, even in the memory of a martyr of the Turkmen people, but the main purpose of the poet is to describe the love and fascination of a girl from the plain. This poem can be a direct influence of the poem on the sensitive expression of the poet.
In Shamlou's first poems, the woman is full of her classic images. In fact, because he had two unsuccessful marriages, the pursuit of the aspiration to find an aide in the form of a woman or to paint the imaginary image of a woman like any of his last loves.
The traces of anima in L'Air Frais can be seen in the poems of Gol Kou, Roxana and the winds, which are a clear symbol of the picture of the ethereal woman of the poet's soul. According to Shamlou, Roxana, with the background of the concept of light and enlightenment, was the name of an imaginary woman who illuminated her path with the power of love. This imaginary woman became real twelve years later in Aida dans le miroir.
In the poems of the collection L'Air Frais, the poet is always desperately looking for his lost anima, and in his poems there is no place for anyone or anything, and he is looking for a love.
In his first poems, Shamlou painted the imaginary face of a woman who resembles his lover's face. A lover, superior to all women, burns the passionate lover in the heat of self-fulfillment and remains unreachable. He first called this imaginary woman Anahita, then Roxana. His imaginary Roxana is the embodiment of light, hope and enlightenment, a woman Shamlou has always dreamed of in his poems, but the gap between them remains empty and eternal. His role in the life of a lover is not that of a companion and actor in a scene of mutual love. This imaginary woman is not a symbol of love for the poet, but a savior. It is the destination of love, in a place far from all ills and difficulties.
Shamlou's anima is for him the source of love, affection and peace, the image that Shamlou presents in this poem is the same image of his mother and her pure love and her soothing lullaby; Shamlou writes in a poem titled L’Air Frais.
Examining Shamlou's approach to the anima archetype shows the impact of biological and psychological experiences in his life. Undoubtedly, the environment, individual characteristics and social conditions play an important role in the use of this archetype. In fact, the poet used folk models and myths and was able to manifest various anima effects in his poems.
The innate image of the woman in the poet's subconscious is formed from all the impressions provided by the woman throughout his life; moreover, the feminine aspect of Shamlou's soul is transmitted to him from his childhood by his mother. So the archetype of the anima in his poem is reflected in the form of an exemplary mother who is represented by themes related to the elements of nature such as earth, water or through images related to motherhood or fertility. Shamlou's pleasant and positive experience and remembrance of his mother led him to make more use of the positive aspects of anima in his poems.
خلاصه ماشینی:
Le Rôle et la Manifestation de l'Archétype de l'Anima dans les Poèmes d'Ahmad Shamlou* Fatemeh ABDESHAHI**/ Mohammadreza MOHSENI*** Résumé— La femme et la féminité en tant qu'incarnation de la fertilité ont toujours joué un rôle décisif dans les mythes, les religions et les formes primitives de la vie humaine; cette catégorie présente dans la littérature persane sous la forme du culte de la déesse des femmes iraniennes, dont la plus célèbre est l'archétype d'Anahita.
Cette recherche se donne pour tâche de familiariser le lecteur avec la théorie des archétypes de Jung, en particulier l'archétype de l'anima dans les poèmes de Shamlou.
En considérant des conditions sociales, culturelles, la personnalité et la vie du poète, la question que se pose cette étude est de savoir comment et dans quelle mesure l'archétype de l'anima est utilisé dans les poèmes de Shamlou et quelles sont les différentes formes de l'archétype de la féminité et ses aspects positifs et négatifs dans ses poèmes.
Dans notre travail de recherche, nous aspirons d'abord à familiariser le lecteur à la théorie des archétypes de Jung et sa réflexion dans la littérature et ensuite nous allons examiner les points de vue du poète sur les symboles de la fertilité et de la vie et l'utilisation de l'anima dans ses poèmes.
Si la rencontre de Shamlou avec Aïda en 1341 (l'âge de 37 ans) est considérée comme un tournant de sa vie, on peut comprendre les différentes manifestations de la femme en étudiant ses poèmes des années précédant et suivant cet événement.