دانشگاه تبریز زبان و ادب فارسی (نشریه سابق دانشکده ادبیات دانشگاه تبریز) 2251-7979 68 231 2015 12 22 Spacing in nizami poems فاصله‌گذاری روایی در منظومه‌های نظامی 77 108 4394 FA فیروز فاضلی استادیار دانشگاه گیلان- ریاست اداره فرهنگ و ارشاد اسلامی استان گیلان محمد اصغرزاده دانشجوی دکترا دانشگاه گیلان Journal Article 2014 05 10 dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a  sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a  sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a  sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidarity <span lang="FA" dir="RTL">فاصله­ گذاری نمایشی به شکل مدوّن، نخستین بار توسط <em>برتولت برشت</em> نمایشنامه­نویس و کارگردان تئاتر آلمانی مطرح شد اما ریشة این عنوان به تقسیم­بندی­های <em>افلاطون</em> و <em>ارسطو</em> در باب تراژدی و حماسه باز می­گردد. ارسطو تراژدی را نمایشی و حماسه را روایی می­دانست. از آنجایی که برشت معتقد بود توهم عینیت در نمایش مخاطب را از نگاه مستقل به آن بازداشته و قدرت قضاوت را از او سلب می­کند، با نگاه به نظریة ارسطو در باب حماسه و مطالعة­ داستان­های شرقی نوعی نمایش مبتنی بر روایت و فاصله­گذاری پدید آورد. در ادبیات کلاسیک فارسی نمایشنامه­نویسی وجود نداشت و منظومه­های حماسی و غناییِ نمایشی در قالبی روایی سروده می­شد و این در تضاد با نظریة ­ارسطو در باب غیرروایی بودن داستان­های تراژیک است؛ در نتیجه آثار غناییِ نمایشی فارسی نیز مانند آثار حماسی برخوردار از فاصله­گذاری­هایی است که بیشتر از آنکه دلایلی برشتی داشته باشند، ریشه در سنّت اندیشه­ای جهان شرق دارند. در این پژوهش بعد از تشریح فاصله­گذاری در حماسة ارسطویی و تئاتر برشتی، فاصله­گذاری­های منظومه­های <em>نظامی</em> به عنوان برجسته­ترین آثار غناییِ نمایشی فارسی مورد تدقیق قرار می­گیرند تا از سویی، به استدراک جهان معنایی داستان فارسی پرداخته و از دیگر سو، روایت فاصله­گذارانة این آثار را به عنوان یک نقصان در دوری آنها از عینیت و انسجام نمایشی مورد واکاوی قرار دهیم.</span> https://perlit.tabrizu.ac.ir/article_4394_5d1f61bdb6882203e738870b4fc7a4f5.pdf