تحلیل گفت‌و‌گومندی و چندصدایی در رمان طوبا و معنای شب بر اساس نظریة باختین

According to Bakhtin's theory of dialogue logic, dialogue lies in the essence of a work of art, and from this point of view, every work of art that is formed in a social context benefits from this feature. This theory is most applicable for the reading of texts whose authors are against dogma and monotony and aim to create an atmosphere of dialogue with the audience. Shahrnoosh Parsipour is one of the prominent writers of contemporary Persian literature who have created very valuable works. One of these works is the novel Tuba and the meaning of night. In this essay, dialogue, polyphony and its categories in this novel are examined based on Bakhtin's theory. In the monophonic atmosphere of his society, Bakhtin made literature an arena for criticism and by presenting the theory of dialogism, he became the founder of some critical and literary theories and approaches. From Bakhtin's point of view, the literary text, especially the novel, is a place of conflict of opinions and ideas represented by the characters of the work. One of the most important situations of polyphonic expression and conversational logic is the presence of dialogue element in these texts. Although dialogue cannot be the same as dialogue, it can be considered as a place to express the polyphony of literary texts. In this article, based on the descriptive-analytical method, this issue has been investigated. The results of the research indicate that in this work, dialogue has a high frequency and most of the dialogues are logical, debating, and female aunt. In the context of polyphony, apart from the voice of the narrator or the author, the voices of other characters are also heard, and none of the voices dominate each other.
Introduction
Mikhail Bakhtin is one of the most prominent theorists of literature in the 20^th century. His theories about dialogue, speech, polyphonic novel, intertextual relations, and carnival later inspired many critics and literary theorists in the West. During his intellectual life, Bakhtin discussed many topics in the field of anthropology, epistemology, linguistics, literary criticism, history of literature and literary types, etc. in the field of human sciences. He used a combination of these four approaches in the four periods of his intellectual work (phenomenology, sociology, linguistics and literary history). Tzutan Todorov says about the mutual relations of these fields: "Bakhtin's epistemological point of view is based on his theory about language, and his reflection on anthropology is the result of his understanding of the history of literature, and in every subject under investigation, the principle of dialogue remains his dominant theme." Despite this, it should be said that the logic of conversation is the main axis of all Bakhtin's opinions and the relationship between conversation and polyphony is intertwined and inseparable. Because it is the conversation and communication with the other that forms the polyphonic space. From Bakhtin's point of view, what is important in the novel is its dialogue, which communicates with human existence. "Bakhtin considered human existence to be the result of conversation and dialogue, and dialogue is the ontological aspect of human existence, which becomes meaningful through the existence of "other", "self"; Therefore, in Bakhtin's thought, thinking that separates itself from the other has no place. Bakhtin is of the opinion that our knowledge and awareness of ourselves is not possible without the presence of another. We understand the unknown and dark parts of our existence through dialogue and interaction with others, and from this approach, the logic of dialogue is connected with anthropology. A person takes words that belong to others from this passer-by and includes them in his own language, so it is through conversation that everyone is known with his own language. In the 100-year span of writing short stories and novels in Iran and contemporary literature, many works of fiction have been written. Shahrnoush Parsipour is among those whose works are worthy of consideration in the field of dialogue and polyphony. For this reason, in this essay, the criticism and analysis of dialogism, polyphony and its categories in Parsipour's novel "Tuba and the meaning of night" based on Mikhail Bakhtin's theory are discussed. In this research, which is based on the descriptive-analytical method and using library resources, first all the conversational and polyphonic components of the novel "Tuba and the Meaning of the Night" are extracted and then the most important and frequent ones are explained and analyzed based on Bakhtin's ideas. In this way, we will try to find an answer to this question, what are the conversational components in Parsipour's stories, and how do these components form in relation to each other and how do they expand in the text of the novel?
Method
This research was collected based on descriptive-analytical method and using library resources.
Conclusion
n the novel Tuba and Meaning of the Night, the writer is not the only theologian; Rather, it creates the story along with other elements and the reader. In this work, the dialogue and tone of the characters are appropriate to the subject of the novel and related to the events in which it was formed. The subject of most conversations is the events that take place in this work. In the discussion of characterization through dialogue and tone in this novel, such as vocabulary, repetition of dialogue, length of spoken sentences, syntax of sentences and their secondary meanings, colloquialism or formality of dialogue, etc. are effective. Most narrative dialogues are used to complete the narrator's descriptions and also advance the events of the novel. The author sometimes expresses the inner and psychological characteristics of the characters in the story through the element of dialogue. In other words, just as the characters can have different voices in the novel, they can have different thoughts and ideas in a conversation. These two components bring the novel closer to people's daily life. In the novel, the words and interpretations that every character utters are in accordance with his social, cultural, religious, occupational and ideological point of view, and every language reflects the world view of that character.
Results
After examining dialogue, it was concluded that there is a high frequency of dialogue in the reviewed novel. Although the narration of this story is mostly in the third person, the voices of the characters can be heard during the story. Sometimes the characters are engaged in everyday conversation, and sometimes they engage in rational and intellectual conversation. In this work, other forms of dialogue such as: aggressive, sarcastic, pleading, etc. dialogue can be seen throughout the work. In the novel Tuba and the Meaning of the Night, it is rare to find a part that does not use dialogue. As we have seen, in the light of Bakhtin's dialogue logic approach, the novel "Tuba and the Meaning of the Night" can be considered multi-voiced and capable of dialogue. The bold presence of the characters and the creation of favorable conditions for dialogue between all the characters is one of the manifestations of polyphony in this work. The voices in this text each raise their voice next to the author's voice and sometimes in front of him and defend their identity, sometimes they fight with each other and sometimes they live together peacefully.