در مسیر «ما» با آن‌ها؛ ساخت نشانه‌مبنای داستان «ملخ» اثر هوشنگ گلشیری

The elements in “Malakh” which is a pseudo-travel story, are generally parallel in structure both in terms of perspective and image, and this study intends to explain the structure of these parallel meanings by examining the signs in the story. To achieve this, the codes have been used that were classified and presented by Daniel Chandler. The predominant technique in the textual coding section has been to look at the imagery parallels of the story, and under the social coding of folk elements and references to the geography, history and culture of the narrative event area have been considered. As the results from analyzing the superstructure of the story have indicated, the selection of the plural first-person perspective along with the parallel images throughout the story, have formed the apparent contrasts of the narrative that are in complete harmony with the content and in the hypertext section. There was a reflection of the homogenization of the nomads, which disrupted their order of life, have become current and visible in all parts of the narrative from the beginning to the end.
Introduction
Followed by the land reformations, a type of literature has gradually emerged in which the writers dealt with issues related to local life with a new perspective. This tendency shows new manifestations of life in the less seen parts of Iran, the story of "Malakh" is a product of this period. However, Hoshang Golshiri did not have it printed in any of his collections prior to printing it in “Nime-ye Tarik-e Maah.” Unlike Golshiri's complex story-telling methods, this story has a simple linear and textured background. His most important innovation in narrating this story is the use of the first person plural point of view, which was his first experience in this field, and later he repeats it in different ways in his other stories. The story of the grasshopper in the form of a short travelogue has interesting implications. The main manifestation of these meanings has occurred in the parallel form of various elements in the story. This figure shows the first confrontation in front of the "other" group by choosing the "We" point of view. In the course of this journey, the arrangement of images and situations gives rise to uncertain situations. In this research, the following meanings have been tried in two ways.
Method
The textual and social codes that Daniel Chandler (1952) proposed in his book, namely; “Semiotics,” are classified and analyzed. These codes generally help to communicate clearly between the signs and the context of the narrative with the use of classified signs and, as a result, to answer the basic question of the connection between the underused perspective of "We" and the visual signs of the story. Through the codes, the textual concept of "parallel images" will help to discover the conflicting images of the text, and the social codes will include the meta-textual references of the story. Therefore, by holding on to it, it will reach the main external reality affecting the text.
Conclusion
In "Malakh", via the nature of the observer narrator, he is trying to write a report. The beginning and end of the story are associated with the beginning and end of the journey. Three young men set off from the city to go to the place of residence tribe around Isfahan with the guidance of three young men from Turkish-speaking nomads at the invitation of the head of tribe. The length of this path is the scene of events and images of Golshiri's narration. In this story, all the atmospherics are influenced by the local environment and the events before the presence of the narrators. It is a one-day-long path that the characters of the story travel. However, it seems short and contains successive realities for the narrator, and His companions have a dramatic change in their attitude. Basically, this short path leads the narrator and his friends from a romantic view of the life and lifestyle and personality of the nomads to a realistic view.
1- In terms of style, one of the most frequent techniques of Golshiri in his stories is to place an object or a concept in the center of the story, emphasizing it in different ways, either through description or consecutive references, in a direct or indirect way. This object or concept plays a complementary and basic role in the narrative. This role is also played in the story of locust. In this story, locust has become the cause of destruction in their place of residence and, as a result of changing their way of life, this function is also consistent with the symbology of the image of locust. Locust Dal is the center that shows how far the city dwellers are from the life of the nomads and are unaware of it. Also, parallel images have an important function as one of the most different elements in explaining text codes. The parallel element to the movement of the narrative characters in the story of the locust is nature itself.
2- In social borders, dialogue is the most basic field of confrontations in a story. This segment can be found under the speech section in Socially coding classified and paid default in two fields. The confrontation between two groups (Tajik and Turkish) flows from the language of the characters in two parts of the story. In several parts of the story, the narrator refers to the description of the way the characters dress. He refers to the type and habits of food eating also appears in the story. Among other references to nomadic customs, Covering games and their business.
 
 
 
 
Results
The story of the locust can be the result of Golshiri's research on the folklore of Isfahan, which he published under the title of "Bazi-ha va Adaab-e Mardom-e Isfahan" under a pseudonym in Payam-e Novin. In the form of two types of symbolic codes that Chandler has classified and defined, the author has chosen a very suitable genre for the narrative in terms of textual codes. The use of the first person plural narrative as the basis of the essential element which creates a  pattern that leads to the creation of the feeling in readers about the author's desired distances. They give development to the images in the story whit parallel images and can even contain implicit references during the narration and take an intertextual form. This group of images is also in harmony with the contrasts mentioned earlier. In the code section, the social and geographical background of the story has provided the author with an extraordinary capacity to point to historical and social meanings by using consecutive signs. At the same time, the story of the locust is short and contains the narrative of a metamorphosis. The unrealistic imaginations of the narrator and his friends on the one-day trip gave way to a realistic view. Despite being implicitly addressed for Golshiri, our readers, like the narrator and his friends, are in a place far from what they want to be It is true that we are living and the story of the locust is trying to fill the void in our consciousness.