چکیده:
Les productions littéraires persanophones récentes profitent du goût grandissant de l’époque pour la notion de l’espace en littérature et l’on est de plus en plus témoin de romans iraniens où l’espace représenté n’est non seulement le cadre du déroulement de l’intrigue, mais aussi et surtout un vrai agent de fiction. Les Souvenirs Dispersés, recueil de nouvelles de Goli Taraghi, semble en être un bon exemple : l’œuvre abonde en référents urbains téhéranais. En outre, la maison familiale de la protagoniste y a une présence récurrente et imposante. La représentation est pleine d’espaces purement référentiels et fictionnels. En effet les quatre premières nouvelles du recueil se rapportent toutes à un même chronotope : le cadre urbain de la ville de Téhéran, où vit la narratrice. Ces nouvelles s’appellent tour à tour : «Le Bus de Shemiran», «L’Amie petite», «La Maison de grand-mère» et «Le Père». Dans ce travail de recherche, nous avons étudié le rôle des espaces urbains et domestiques et les possibilités sémantiques qui s’en dégagent afin de savoir si ces espaces contribuent à donner une certaine forme au monde romanesque de cet ouvrage. L’approche qui nous a servi de point d’appui est la géocritique de Westphal. La présente recherche nous a bien révélé que les espaces de cette œuvre participent activement dans l’intrigue et toute la complexité du monde fictionnel en dépend. La forme qu’ils contribuent à donner à ce monde, décide une fois pour toutes du destin de l’héroïne mais aussi de celui de tout le recueil.
مفهوم فضا بیش از پیش از در اثار ادبی معاصر اهمیت یافته است. در رویدادی مشابه، شاهد ظهور داستان های فارسیزبانی هستیم که در انها، فضا نه تنها پسزمینه رخدادها، که بخشی جداییناپذیر از اثر گشته است. خاطرههای پراکنده گلی ترقی، نویسنده سرشناس ایرانی، مثال خوبی از این دست اثار است. جای جای این مجموعه داستان کوتاه پر است از نام فضاهای شهری تهران. افزون بر این، خانه پدری قهرمان داستان نیز در ان حضوری بسیار پر رنگ دارد. بازنماییهای فضایی، طیفی متنوع از فضاهای ارجاعی و تخیلی را دربر میگیرند. چهار داستان کوتاه از مجموعه خاطره های پراکنده تهران دوران کودکی و نوجوانی راوی داستان را روایت می کنند: «اتوبوس شمیران»، «دوست کوچک»، «خانه مادربزرگ» و «پدر». تهران وجه مشترک این داستان هاست و همین امر معیار ما برای انتخاب انها و پژوهش بر تهران بازنمایی شده در ان ها بود. در پژوهش حاضر، فضاهای شهری و خانگی خاطرههای پراکنده را مورد واکاوی قرار دادهایم تا بدین پرسش پاسخ گوییم: از برهمکنش این فضاها، جهان داستانی اثر چه شکلی به خود میگیرد؟ درپی یافتن پاسخ این پرسش، از نقد جغرافیایی برتران وستفال به عنوان رویکرد ادبی غالب بهره جستهایم. در نتیجه پژوهش حاضر خواهیم دید که عنصر فضا در اثر گلی ترقی نقشی کلیدی در پیشبرد رویدادهای داستانی دارد؛ در واقع شکلی که جهان داستانی در این اثر به خود میگیرد سرنوشت راوی و خود اثر را تعیین میکند.
Einstein's theory of special relativity, the need to reconstruct the ravages left by
the Second World War, the postmodern revolution of the late 20th century, technological advances
facilitating the back-and-forth comes intercontinental and the resulting growing tourism, all this
contributes to the rehabilitation of the notion of space which is now on the agenda: "Time has gradually
become space, space has become literature. Thus, we are increasingly witnessing the appearance of
novels where the space represented goes beyond its status as a simple framework for the unfolding of
the plot. Novels are becoming more urban than ever. This phenomenon more or less affects a large part
of the world's literary productions, including Persian and Persian-speaking literature.
Goli Taraghi is arguably one of the best-known writers in Persian literature. Scattered Memories, an
autobiographical work, is a collection of short stories, where the Iranian writer recounts the years of her
childhood and adolescence in Tehran. A simple reading of the book reveals the great role played by the
space of Tehran. The work abounds in Tehran urban referents. Also, the protagonist's family home has
a commanding presence there. Representations vary from purely referential spaces to places of fiction.
In the first four short stories of the collection appears the same chronotope: that of Tehran of the years
of childhood and adolescence of the narrator. These short stories are alternately titled: “Shemiran’s Bus”,
“The Little Friend”, “Grandmother’s House” and “The Father”. The fact that they all belong to the same
spatio-temporal framework seemed to us to be a good criterion for choosing our body of research.
Given the recurrence of urban and domestic spaces in this work, we believe that the way in which they
intervene during the story is undoubtedly revealing of meaning. But what role do they play in the story?
What is the role of these spaces in the constitution of the fictional world of this work? And what form
could best reflect the universe of Taraghi in this collection? To answer these questions, after a theoretical
overview of the presuppositions of Bertrand Westphal's geocriticism and its theoretical principles, we
propose to study the representational modalities of the spaces of Scattered Memories.
It should be noted that the work of Goli Taraghi in general and The Scattered Memories in particular
have been the subject of a large number of literary researches and scientific articles in recent years. But,
researchers and authors are mainly interested in its autobiographical aspects. We can cite as examples:
"Nostalgia, time and space in Shemiran's house by Goli Taraghi", (Daneshvar, E. ) and "The literature
hazaleh Haji Hassan Arezi — Extended abstract: For a geocriticism of the space of Scattered Memories | 89
of Iranian writers and poets who immigrated to France and Germany, Birth of a writing from outside the place”, (Salami, Shahnaz). However, our research objective is to take an analytical look at the romantic space of this work using Westphalian geocriticism. To do this, we first look at the referential spaces (urban or domestic) of the news. Secondly, a study of fictional representations is, in our view, essential. Third, we will examine spatial polysensoriality and then the stratification of time in space.
We cannot talk about the form of the romantic world in this work without addressing the place of the parental home where the narrator spends most of her childhood and adolescence. The third short story in the collection, entitled "The Father", speaks of his most important work: the house he chose and the location and shape: "He himself drew the plan [that of the house] : room, room, […], one behind the other. […] The guest room is on the first floor. […] Hassan Aqa's kitchen is the heart of the house; bright, it overlooks the garden and like a sacred temple of fire, it is full of life, gifts, and blessings” (Ibid. 77).
What we are looking for as a form does not necessarily coincide with the physical plan of the place represented. This is the case of the kitchen in the previous passage. It is not certain that this domestic space is really at the center of the house. At least no mention of it in the artwork. In addition, it seems to us that the narrator rather refers by the word “heart” to the importance of this space for the family. Added to this are the taste sensations evoked by the main character and whose center of emanation is almost always the kitchen. This importance is such that the author assimilates this space to a temple.
As for the shape of the house as a whole, the following passage might reveal some meaning: "The house of Shemiran, with its bright days and the mysterious shadows of its trees, with its clear nights and the pleasant whispers of the neighborhood boys behind its walls, […], like a fertile womb, [this house] sits under the clearest sky in the world and the father repeats for the hundredth time: “it is the same house that I wanted , this is my home” (Ibid. 77).
This house is like a closed world. It has a garden whose elements create a fictional atmosphere. A great mystery reigns there. Also, the domestic space is surrounded by walls, behind which the boys can be heard whispering. The protagonist loves these voices which indeed become a temptation to escape for the protagonist: she is ready to leave the enclosure of this house similar to the mother's womb. The house space will sooner or later give birth to a new being. In reality, the inhabitants of the house will eventually be forced to leave it; but, even before this unfortunate event, the adolescent Goli knew that one day she would have to be separated from her family and from this house (Ibid. 80).
This closed space and endowed with a lively and animated heart is assimilated to Paradise; this is even better understood if we take into account the importance of the garden for the main character. The inhabitants of all paradises end up being driven out. This paradise-home, however, is a little different from its peers. Because, it also becomes a space that will sooner or later decompose giving birth to something else.
Considering the importance of the house in the life of Taraghi and the perfect order which reigns there under the will of the father (he strongly believes in maintaining order, for example he asks all the members of the family to go down to the yard at a fixed time in the morning so that he can take them to school, otherwise he will leave (Ibid.: 26)), it seems to us that this house is a real cosmos which has a kitchen in its center. With the demolition of the house, everything will be buried under the asphalt surface of the imperial highway (Ibid. 92). But the disappearance of the house-cosmos will have an even more striking consequence: it will begin for Taraghi a period of difficulty: she should go abroad and feel a great homesickness there (she recounts these difficult years in a short story entitled Madame the wolf (Ibid. 140-156)). The death of the house becomes a crucial moment from which the world loses its old form: from the cosmos, it will turn into chaos. Consequently, in other short stories in the collection,
hazaleh Haji Hassan Arezi — Extended abstract: For a geocriticism of the space of Scattered Memories | 90
there has been no representation of the house as the central space or the axis around which all the other spatial components of the work revolve.
But as long as the house rests in the work, the space unfolds there with ease: whatever the type (referential or fictitious), the whole plot depends on it. The sensory properties of these spaces and the role they play in remembering the past make them a real character of the news to the point that we could only consider them in their connection with Tehran's urban and domestic space. All this importance materializes in the shape of the world that this space gives even to the setting of the story: the demolition of the domestic space means for Goli the entry into the city, the urban space which was always present in his life but which , this time, swallows it cruelly while strengthening his personality.
It would therefore not be in vain to say that The Dispersed Memories is a fine example of the spat novel.