fa مقایسۀ نشانه‌شناختی «دگردیسی بصری» در چهار کتاب تصویری کودک: با رویکرد واسازی تخصصي Special پژوهشي Research <div style="text-align: justify;"><span style="font-family:Tahoma;"><span style="font-size:11pt"><span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="direction:rtl"><span style="unicode-bidi:embed"><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">براساس نظریهٔ واسازی دریدا، معنا همواره در تعویق و زنجیرهٔ دال</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">ها فاقد مدلولی غایی است. هدف پژوهش حاضر این است که نشان دهد، دگردیسی</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">های بصری ذاتاً واسازنده هستند؛ مگر اینکه روایتی ساختگرا مانع از بروز این قابلیت شود. کتاب</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">های تو در تو اثر نوریکو اوئنو، من می</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">بینم من می</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">بینم اثر رابرت هندرسون، تو لک</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">لکی یا دارکوب و من روی دستم می</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">ایستم از علی خدایی به این دلیل برای موضوع پژوهش اختیار شده</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">اند که جملگی مبتنی بر دگردیسی تصویرند و درعین</span></span></span></span><b><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span></b><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">حال در خلق دگردیسی تصویر از سبک</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">های ناهمسانی استفاده کرده</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">اند. مقالهٔ حاضر با روش تحلیلی</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">ـ تطبیقی در پی پاسخ</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">گویی به چگونگی شکل</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">گیری واسازی یا عدم شکل</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">گیری آن در آثارِ مبتنی بر دگردیسی بصری است. نتیجهٔ پژوهش پیش</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">ِرو، مبین این است که دگردیسی تصویری می</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">تواند تحت</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">تأثیر ساختار روایی متن، کارکرد واسازگونهٔ خود را از دست بدهد. به</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">عبارتی دقیق</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">تر، روایتِ تصویری متن می</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">تواند از زنجیرهٔ تصاویرِ دگردیس</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">شونده تعویق</span></span></span></span><span dir="LTR" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span></span><span lang="FA" style="font-size:9.0pt"><span tahoma=""><span style="color:black"><span style="letter-spacing:-.05pt">زدایی کند.</span></span></span></span></span></span></span></span></span></span></div> <div style="text-align: justify;"><span style="font-size:11pt"><span style="text-justify:kashida"><span style="text-kashida:0%"><span style="line-height:115%"><span style="font-family:Calibri,sans-serif"><span style="font-size:12.0pt"><span style="line-height:115%"><span new="" roman="" style="font-family:" times="">According to theory of deconstruction by Derrida, meaning is always defermented and the chain of signifiers have no final signification. The objective of the current research is to show that visual metamorphoses are inherently constructive, unless, a constructive narrative prevents this possibility from occurring. &quot;Elephant Buttons&quot; by Noriko Ueno, &quot;I see, I see&quot; by Robert Henderson, &quot;Are you a stork or a woodpecker?&quot; and &quot;I stand on my hand&quot; by Ali Khodaei were chosen for the research topic, because all are based on metamorphosis of the image and at the same time, they have used different styles in creating the metamorphosis of the image. The present article seeks to answer the question &ldquo;how deconstruction is formed or not in works based on visual metamorphosis&rdquo;, with the analytical-comparative method. The result of the present research shows that image metamorphosis can lose its adaptive function under the influence of the narrative structure of the text. In more precise words, the visual narration of the text can postpone the chain of metamorphosing images.</span></span></span></span></span></span></span></span></div> کتاب‌های تصویری, دگردیسی, واسازی, دریدا, تعویق معنا picture books, metamorphosis, deconstruction, Derrida, postponement of meaning 93 112 http://kimiahonar.ir/browse.php?a_code=A-10-1-338&slc_lang=fa&sid=1 Amirhossein Zanjanbar امیرحسین زنجانبر mosafer_e_barfi@yahoo.com 10031947532846006769 10031947532846006769 Yes