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From Historical Report to Literary Creation: A Narrative Reading of The Historical Event "Seizure of Bukhara" in Jahangoshay-e Joveyini based on the Theory of David Herman
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Shirin Roshani *1  , Habibollah Abbasi , Nasergholi Sarli , Seyed Morteza Mirhashemi |
| 1- , shirinroshani@khu.ac.ir |
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Abstract: (328 Views) |
The historical event of “The Seizure of Bukhara” is one of those events that has been recorded by many historians. This shows the importance of this event in the history of Iran. The recording of this event in different dates shows the difference in the approaches and the way historians look at the subject of historiography and description of the event. In some of these texts, the narratives are more detailed and the event is out of the historical reporting mode. One of the historians who has started to record this event with an approach beyond reporting is Atamalek Joveyni, the author of Jahangosha-ye Joveyni. In the analysis of Joveyni's narrative, there are several factors that convince the audience that he recorded the events not only for the purpose of reporting, but also with a perspective beyond that. In the present research, we explored the historical event of the seizure of Bukhara with descriptive-analytical method and narratological approach. In this research, we followed the analysis based on David Herman's four-level theory of narrative analysis. This theory examines narratives on four levels of situatedness, event-sequencing, world-making/world disruption, and what-it’s-like, and based on this, shows the degree of narrativity in the event. In the first level of Joveyni’s narration (situatedness), the position of the narrator can be recognized in four faces; In other words, every time, by being in one of the forms of writer (reporter and reminder) and narrator (reporter, admonisher), Joveyni takes advantage of methods that takes the event out of the reporting mode and organizes a literary creation. In the second level (event sequencing), Joveyni sets the beginning, middle and end of the narrative well, which requires a narrative plot, by arranging the events in the form of a causal system. Forming this narrative, Joveyni has set the main and secondary events. This arrangement of the events and the precise arrangement together with the precise descriptions of the time and place of the narrative illuminates Joveyni's method in dealing with the third level of narration (world-making). Finally, in the fourth level of the narrative, Joveyni has induced a state of empathy in the reader in three ways. It should be kept in mind that the induction of this feeling is less visible in historical texts; This is despite the fact that the method of Iranian historians is not only limited to mere reporting and they have a parallel goal in mind, which can be referred to as the principle of teaching in order to influence the audience. At this level, by adopting three distinct methods, namely describing the eloquence in the beginning of the narrative, combining words with images, and quoting poems and proverbs in order to follow the line of teaching, Joveyni has influenced the audience's emotional system and transformed the feeling into perception, and finally created a central thought process in the audience. This process leads to the creation of one of the important elements of narration, and its presence means passing the level of mere reporting and reaching the level of literary creation.
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| Keywords: Jahangosha-ye Joveyni, Seizure of Bukhara, Narration, Narrativity, Historical Report, Literary Creation, David Herman |
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Type of Study: Research |
Subject:
نظریه های ادبی
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