Viewing angle of Khosrow and Shirin

Viewing angle in the story of Khosrow and Shirin from lyrics poem of Nezami Ganjei: sign-semantics approach

Abstract

An ancient country, Iran, with a history of several thousand years, gets abundant legends heirs and tales that would be the ancestor souvenir and all manifestations of culture and ways of life of the people having lived in this land. One of the lasting tales is cited the story of Khosrow and Shirin who had been in love, from lyrics poem of Nezami Ganjeei. He was one of the greatest romantic-epic poem storytellers whose works such as semiotics and literary criticism can be studied and reviewed from different approaches.
In this paper, the authors using the mechanisms with sign-semantics approach get study of angel of view and its types through stories chosen Khosrow and Shirin and of this point whether selecting different viewing angles on a story by the speaker affects to convey different meanings to the audience and to highlight different aspects of narration; as a matter of fact that the sign-semantics attitude is believed that the meaning would build linguistic forms and when making discourse, we must insist on the visualization presence is present across the dialogue and narration and gives meaning to their control. Meanwhile, selecting the speaker’s viewing angle plays an important role in the discourse. To answer the research question, the research data selected in accordance with the pattern of Shaeiri is analyzed on the different species of viewing angle such as the selection, continuity, universal, competitive, and so on.
Keywords: semiotics, sign-semantics approach, viewing angle, narrative, Khosrow and Shirin, Nezami.

1. Introduction

Literary criticism in a new approach means the analysis of literary works in terms of structure and meaning and discovering the rules which have been promoting them. In other words, the use of the rules of literary is considered as a tool to explain literary works, and finally to reach the new law which it lies in. This method of study is very creative, because they both play an essential role and keep literary science always alive and in changing and with the introduction of efficient tools for analyzing literary texts, lead cultural and literary currents to move in itself right direction. Hence, today one of the branches of literary studies is criticism. Based on what Roland Barthes suggested critique in mean of the literary description offered its analysis shortcomings discovering, reading the literary works in another species and its impression of the work (Shamysa, 1999: 20-24).
About the relationship between linguistics and literary criticism, it can be noted that linguistic study of language and literature, the author of the original foundation, therefore, can be linked with literary criticism. The subject can vote linguists such as Roman Jakobson and Roger Faler noted that the pioneers in the application of the methods used in the study of literature and linguistics. Jakobson (350: 1960) introduces, one of the functions and roles of the language is of the poetic contribution. Where the message itself is focused and it is directed on itself, when discoursing. Since the poem identification deals with the problems of word structure and on the other hand, linguistics is the global science of word structure; the poem must be an integral part of linguistics.
In the present study, the authors using semiotic criticism - criticism that arose from semiotics- assessed the story selected of lyrics poem of Nezami Ganjeeei. For this purpose, we present the theoretical foundations of the study such as semiotics, sign-semantics approach, viewing angle and its types, then in the data analysis section, it is analyzed some poems selected from the story of Khosrow and Shirin, in accordance with the theoretical framework adopted.

2- Semiotics

The human beings is who tends to understand the meaning and hence this can be called a meaning-making human; and the tendency itself builds the science of semiotics; Because the main subject area of study is "semantics", in semiotics, the signs are represented in the form of images, sounds, actions, gestures or objects, these figures are not carrying any kind of natural or inherent meaning, except when attributed to the special meaning and transferred to the signs (Nersians, 2008: 25). Therefore, the semiotics can be considered as the study on the definition through the study of theory and systemizing the different types of signs and the process of its formation. To achieve this sense, the meaning cannot be studied when detached from the subject i.e. the human who defines and uses it in oneself daily life, and also apart from the cultural system which forms (ibid. 17). As well, Giru, in the definition of semiotics, knows as the study of semiotic systems such as languages, codes, and sign systems and so on, accordingly, the language is taken into account a part of the semiotics (Giru, 2008: 13). Also Soujodi believes that its range can be very broadly and grounded as an analytical tool and fundamental theory would be efficient.in the analysis of literary texts and the texts of newspapers advertising and multimedia audio and visual texts (Prostration, 2003: 15).

3- The sign-semantics

Saussure accounts for relationship between signal components without the human factor, because the signs get progressed in the form of certain values in the language, and only when stable, become established in the language. But contrary to his approach, sign-semantics approach knows sign to be functioned the dynamic, alive and even perceived process. Therefore, what is involved in the formation of signs process, it is not as a function of template, logical, linear and mathematic, but how reflecting the "meaning" or "meaning-creation" will be replaced the template function of the sign. The meaning-creation is a progress during which the sign changes, becomes complex and replaced and gets forward fluidly.
Therefore, taking into account the dynamic model for other signs cannot be regarded as a function of constructivist rational system. So they should be studied with a phenomenological perspective. Accepting the presence of phenomenological puts epistemology factor to the field of semiotics studies. It agent has a substantiality being able to see and understand substantiality is meaningful referent. It also evaluates them and converts to the sign and this can make the signs in its path become a sign of a more perfect or superior. Meeting between phenomenological and signs makes we embrace the presence of agent’s substantiality that dominates on the conditions, in which the meaning takes place, and makes it changed. Such presence of substantiality which transforms phenomenal event, according to Jacques Fontaine, would be "during the experience of meaning-creation process, substantiality would be the only common element between human and the physical world; and in the production of meaning and over sign-semantic operation, the substantiality causes the expression (slab) and the content (referent) to be related to each other be"(Shaeiri, 2009: 1-6).

4. The viewing angle (4) and perspective (5)

Viewing angle is associated with the cognition and this means the views are directed specifically. In other words, the directed angle of view indicates the consideration route or look course that actuates to something or someone. Saussure, in this context, believes that the viewing angle is based on the cognition and a relationship in which one thing is related to everything else. This is either causal or semantic relationship that aims to establish features that one thing should have, relying on them, to be considered as a physical cause to something else, or, mentally, to suggest another meaning of. Grémecey and Kurtz (1993) know the viewing angle to be the set of techniques that speaker apply in order to create a variety of text processing, by using it. This means that the speaker, for making the variation, makes selection of and directing the topics inevitably; and the diversity of discourse means creating different forms of discourse, such as narrative, descriptive, argumentative, emotional, aesthetic, and the like. About the difference between the viewing angle and perspective, it can be noted that an observer or witness is necessary to present to the viewing angle, but the perspective is a relation between the speaker and audience.
Gérard Genette (1972) believes that the perspective somehow is to organize the narrative information, the speaker in accordance with, that transfers more or less detailed in a direct or indirect manner to the reader, in turn makes its distance far less or more to what it tells. Another important point is that the linguists believe that the viewing angle would be as a stream which is related to the layout and classification of the syntax elements; while the individuals of signs-semantics believe that meanings, more than anything, has been born in the world of discourse and jus its realization occurs over the text. Therefore, main role of the viewing angle - observing being directed of the discourse and ensuring its ultimatum- is that the meaning imposes itself on the text and syntax system, so the viewing angle belongs to the discourse world and the meanings world (Shaeiri, 2006: 76).

To show the viewing angle, let’s go look at these sentences:

A. Ali lent his car to Hassan.

B. Hasan borrowed Ali's car.

In the sentence "A", viewing angle is based on "Ali" has imposed itself on the syntax system, and this leads to the formation of the referent of "engagement", "sympathy sense" and "generosity". But, in "B", viewing angle is on "Hassan" has imposed itself on the syntax system. In other words, “Ali” is originated from sentence "A" this leads it to be highlighted; and "Hassan" is destined that this position makes it to blur and shows to be passive.

4.1 Types of viewing angle

Over discourse, the viewing angle would be revealed in different species that they, according to what shaeiri has noted (2006), can be stated as follows:

4-1-1- Universal viewing angle

The viewing angle is based on the method of holism, in the sense that audience or teller looks in outline at different species. Some verbs like walk, glance, look at and examples of this kind belong to this way; like the one example below of A. Shamlou (1993), who shows the space and time from his view by a universal looking:
I touch you and find out the world,
Thinking of you
And I touch the time
Suspended and infinite
Naked (Shaeri, 2006: 8)

4-1-2- Continuity angle of view

By the viewing angle, the audience or the teller states the different aspects of an object or a situation in successive or continuity looking when putting together one after another and the combination of several viewing angles. As an example below, Sepanlou (2004) to show a full view of the house states its various aspects, such as the "curtain", "tableau":
When leave the home
The curtain was dropped
The tableau were fallen
The books were sold (...) (right there)

4-1-3- Selective viewing angle

Audiences based on the viewing angle among existing species highlight just one thing as a selected one and contemplate on. This means that after selecting a species, other species are pale in terms of their importance, such as the instance below of Sepehry (1989):
Did you buy fruits from plaza, any?
Where were infinite fruits held into the basket?
I said” buy a good pomegranate of 3 k
(Right there)

4-1-4- Viewing angle of component-oriented or specific

In the viewing angle, the audiences with a lot of focus and accuracy evaluate and contemplate a particular kind without regard to the species of global and large collections, such as the instance below of Sepehry (1989):
The grapevine branch was involved in grapes
The child came
His pockets was full of enthusiasm to picking up
(Right there)

4-1-5- Parallel viewing angle

Over the viewing angle, by the discourse the two species are moving parallel to each other, without one would block another or fade its contribution, such as the following distiches from P. Etesami (2005):
An officer saw a drunken and captured his collar
Drunken said: my friend, this is a shirt, not a bridle
The officer said: due to drinking, stumbling
(Shaeiri, 2009: 89).

4-1-6- Viewing angle of competition

Here are two species that compete with each other and this competition may be of interaction aspect. This means that it appears in a operation or a program of validity that like the Cinderella’s character and her stepsisters in the story of attending in the Prince’s party (Ibid, 93-94).

5. Theoretical framework

Theoretical framework is sign-semantics approach that its foundations have drawn in two works by Shaeiri (2006 and 2009). The research data was selected from the story of Khosrow and Shirin by Nezami Gangeei and gathered which will be assessed in accordance with the theoretical foundations of the study.

6. Data analysis

Over this study, it is examined types of viewing angle on selected distiches from the story of Khosrow and Shirin of lyrics poem by Nezami Ganjeei:

6.1 Viewing angle of universal

Yes, I have appeared in the world ... I loved you by my heart and soul
No I hugged somebody under pressure when searching ... I prostrated nobody’s face except.
Not seen kindness scent of you ... except turbulence and despondency
(Nezami, 2010: 241)
Here, the speaker, his emotional feelings were appeared universality. In the first and second distiches, all his love and interest was showed to the minion and the last distich, he introduced minion’s beings to be overall turbulence and despondency.

6-2- Continuity viewing angle

As prescript to Farhad to getting a grip... to inscribe the stone wall
Grinding from morning to evening uninterrupted ... cutting the mountain, but for sweetheart’s sake
Starting to fall the rocks of the mountain ... as well cutting the outweighed stone
(Ibid, 200)
In this example, the audience by choosing the continuity viewing angle depicts how to do and how being dug the mountains by Farhad for Shirin’s sake. Also, here Farhad was a passive person that Shirin’s rememberance and her love cause some action (digging Mountain) to him.
He climbed the mountain like the wind ... lied to and hit by a hatchet
Holding first its seats pudency ... go portrait of elegant statues
Shirin’s face on the stone by hatchet ... being carved such that picture of fetish
(Right there)
In this instance, as in the previous example, the speaker using the continuity viewing angle draws how climbing to the mountain carving on the stone of the Mountain.
Neither looking at Khosrow, nor on the throne ... like a line clawing on the tough ground
Shirin’s sorrow had gotten robbed of himself ... that really caring neither himself and nor Khosrow
The king ordered to revere him ... every step to establish gift
(Ibid, 198)
In these distiches, the speaker by selecting the continuity viewing angle got looking at a hybrid Farhad’s presence- when he became called by Khosrow to the court.
150 water-mans of his troops ... the water washed his path full of mad
150 censer-mans, being attractive ... dropping smell grains into the fire
From thousands sides with the golden ring got banded ... all goldfinches’ broken nails
(Ibid, 229)
At the example above, the guard configuration mode of King Khosrow when going on the way to the palace of Shirin on the pretext of hunting, it was drawn with a hybrid looking, at the picture.

6-3 Selective view angling

Be a light hey morning breeze ... take kindness on opportunities being sought
Kiss the earth in the royal banquet ... that having a realm on the firmament (Ibid, 97)
This distich would be a pattern of the prescribed action in which the speaker as "the actionist", in the first distich, to the morning breeze that "as an actor", ordered to be light and in the second distich to kiss the ground. Also to highlight "Morning Breeze", it used from selective the viewing angle.
As a morning eye, he took everyone to see ... pulled on the darkness tent
In every country where the sun ran on the earth ... got the earth stripe full of gold
(Ibid, 97)
In the above example, we see sign-semantics of light (bright light) in which the passive without any contributions in its formation gives a narrative form to the appearance. In this example, the bright light presence is originated from space-and-temporal curriculums that the object of aesthetic is located in. On the other hand, the viewing angle is an oriented-component.
Don’t engage your heart on the universe this cold ignoble ... not getting loyalty to anyone
As the universe grants the man something ... does eventually not retake one by one?
One hundreds it gives a while for the beginning … at last retakes all once
(Ibid, 294)
In this instance, the speaker with obsessive attitude to the world refers to the outcomes of being interested in; and that everything the world gives the human, finally, retakes one by one. Here the speaker with an induced response is trying to arouse his audience to be independence of and not interested in the world.

6-4- Viewing angle of oriented-component or specific

The words not coming from thought … not in place the idea of writing and talking
Talking is easy to order ... but must be standing on order
It was saying a lot; make a little now ... do not take one as a hundred, convert one hundred to one now
(Ibid, 100)
Here, among the various human’s behaviors, the talks, being selected and with an eye for detail, was mentioned with positive and negative aspects. In addition, the distiches are examples of prescriptive action in where activist orders the actor to talk low.
Due to being loved in you as a candle takes the dark night ... I take living such way that as you can see
Being created in so tight vestibule ... I have a being created by the stone
Unfortunately, I engage in a bad luck ... I was concerned by this misery
(Ibid, 201)
It is seen a sensory-perception relationship; and "Farhad" is a passive in whose mental and emotional status Shirin’s love changed. The sample, with an eye for detail, explains the consequences of the Shirin’s love.

6-5- Viewing angle of parallel

This can be seen in the debates. In this case, the two species are handled in parallel with each other without one is dominant over another or makes an obstacle to the other.
Firstly, he asked where you are from ... she answered from of familiarity land
Asked: what industry is trying to do? ... Answered: buying the sadness and selling the life
Said: selling the life is not intellectual and polite ... answered: it is not surprisingly the lovers to do so.
Asked: have you been in love by the heart in this way? ... Answered: you are telling from the heart but I say by my whole existence
(Ibid, 198)
Above example, this is a debate between Farhad and Khousrow who both are interacting with each other in parallel, without one make the other’s role pale. According to the authors, an interactive justification system (6) exists between a creator of sense (Farhad) and perceiver of the sense (Khosrow) is based on common sense between them.

6-6- Competitive viewing angle

This is not a love, it is a lust and whimsy ... there is a far distance among you and the love; where you are, a heart whole?
I deserve that incarcerate him ... you are a royal, not falling on you the flag
Whilst a lion become a gust to a gazelle ... when does the eagle saturate by eating a wagtail?
(Ibid, 241)
At the first line represents a kind of sensory-perception whit a passivity, which means that it is based on perceptions and sense and a kind of the characteristics of emotional and mental state of a person when attending discourse. In this case, the passive, in conflicting between true love and lust or fleeting feelings that both rival together and at second and third, it was drawn the competition between the sense of being powerful and not powerful.
Although the beauteous behaves in the irritable way … being goodness is also a good custom
If the lords misbehave ... occasionally they tend to kindness
Not annoying an old friend ... hey elf if a little irritable, then being kind
(Ibid, 240)
In this sample also, like the sample lines as mentioned before, the conflict between the individual's sense of irritability and feelings of kindness shows that are in competition. The one knows appropriate being irritable in their individual dignity and self-strength, while goodness is known worthfully.

7- Conclusion

Survey data indicate that at the study story, the speaker to convey a different meaning to his audiences, utilized viewing angle of universality, continuity, selective, oriented-component (especially), parallel and competitive, in combination, in various parts of the discourse which each highlights a different aesthetic dimension of the symptoms in the narrative. Signs and the meanings are formed based on the interaction between language sense and the actors’ experience from the outside world. As well, the analyses show that the speaker utilized often the continuity viewing angle in narrative to describe scenes and events and the parallel one mostly in the debate between narrative elements or characters like the debate between "Khosrow and Farhad" or talks of "Khosrow and Shirin". In addition, the viewing angle of competitive was mostly used to image the non-action or emotional-perceptional species that are stem in characters’ inner emotions and feelings, where the emotions in a man are put in competition and in conflict with each other. Like the contrast between true love and fleeting love (lust) in a person or contrast between sense of kindness and feeling of callous. The selective viewing angle is more efficient in an interaction discourse, where the actionist deals with carefully to describe a particular kind of discourse and at last inspires or prescribes the interaction to the audience.