چکیده:
La sémiologie, c’est l’analyse des systèmes de signes qui lient les éléments d’un contexte entre eux. Elle étudie les signes verbaux ou non verbaux et leur signification. Autrement dit, cette étude vise à comprendre comment les signes font sens.Cette discipline scientifique est inspirée de la linguistique et peut étre appliquée à de nombreux champs d’étude comme la littérature, la publicité, le cinéma, la politique. Dans cet article, nous visons à faire une étude sémiologique des signes émis dans La Maison Paternelle, film iranien mis en écran en 2010. En effet, c’est la condition féminine ianienne dans une famille au cours de plusieurs années qui a été mise en question. Et nous sommes penchés a l’analyser en nous occupant des signes verbaux, des signes gestuels-culturels et enfin des signes architectureux. Nous avons essayé d’étudier le sens et ses manifestations à travers les multiples registres de signes qui existent dans la culture.
نشانهشناسی تجزیه و تحلیل سیستمهای نشانهای و ساختارهای ضمنی است که عناصر یک مجموعه را به یکدیگر پیوند میدهند. این علم، نشانههای کلامی یا غیرکلامی و معنای انها را مطالعه میکند. به عبارت دیگر، هدف مطالعات نشانهشناختی کشف این نکته است که نشانهها چگونه معنا مییابند. این علم از زبانشناسی الهام گرفته است و میتواند در بسیاری از زمینهها و علوم مانند ادبیات، تبلیغات، سینما و یا حتی سیاست کاربرد داشته باشد.دراین مقاله قصد داریم به بررسی نشانهشناختی نشانههای موجود در فیلم ایرانی «خانه پدری»، که در سال 1389 اکران شده، بپردازیم. در واقع، ما وضعیت زنان یک خانواده ایرانی در طول چندین دهه را مورد مطالعه قرار خواهیم داد و با پرداختن به نشانههای کلامی، نشانههای حرکتی-فرهنگی و در نهایت نشانههای معماری به تحلیل این مسيله خواهیم پرداخت. ما سعی کردهایم معنا و مظاهر ان را از طریق ثبت نشانههایی که در فرهنگ وجود دارد بررسی کنیم.
Semiology is the study of signs and their meaning. This scientific method, which
is inspired by linguistics, applies to many fields of study, including literary, cinematographic and artistic
facts. It is interested in the potential meanings of the sign and how it is constructed and transmitted.
Indeed, it was Ferdinand de Saussure who renewed the definition of this term in his General Linguistics
Course. Semiology is, for him, “the science which studies the life of signs within social life. It would
form part of social psychology, and consequently of general psychology. Semiology can therefore
interpret certain social phenomena and the symbolic value of cultural facts. The signifier and the
signified are two components of the sign in the Saussurian sense. According to Saussure, the signifier
constitutes the material part of the sign, that is to say, the acoustic image or the mental sound
representation of the sign. The signified would be, so to speak, the immaterial or conceptual part of the
sign. Semiology is therefore the study of language and includes the decoding of signs which are divided
into two essential categories: linguistic signs (verbal language) and iconic and kinesic signs (non-verbal
language).Given that semiology is the methodology of the sciences which deal with signifying systems,
therefore "of the human sciences", one can realize the effectiveness of this method in the study and
understanding of cinematographic works. Indeed, like any other artistic work, the cinematographic film
presents itself as an enigma to be deciphered. As far as our analysis is concerned, it consists in studying
the different verbal, kinesic and architectural signs that populate the Iranian cinematographic film
entitled "The Paternal house", directed by Kianoosh Ayari in 2010. It is a historical narration which
stages the life of three generations of an Iranian family which lives under the patriarchy and more
particularly, it tries to specify the situation of the woman in this family during the various periods of the
history. According to Metz, theoretician of cinema semiology: “ the meeting of cinema and narrativity
represents a great fact which had nothing fatal about it, which could not be fortuitous either. It is a
historical and social fact, a fact of civilization, a fact which in turn conditions the evolution of film as a
semiological reality”. Thus, cinema is a kind of language. Indeed, "The study of the cinematographic
work includes two tasks: the analysis of the cinematographic language to which the semiologist proceeds
by operating the location and the classification of the major signifying units, from the shot to the
sequence, and on the other hand script analysis. Indeed, the story of Paternal House is centered on the
family and social violence exercised against women, it is therefore appropriate for us to study and
interpret the verbal signs which refer to the dialogues emitted by the characters, the gestural signs -
cultural which relate to the gestures of the characters or their movements and finally the architectural signs which are related to the structure of the house and which are all supposed to make understand this violence and the deprivation of the woman of her natural right to life. The first section includes verbal signs and deals with studying the dialogues emitted by the characters, those that most of the time, result in expressing masculine power and its superiority over the feminine gender. In fact, this verbal violence is exercised by the men against all the women in the family. They own the life and the mind of women. Molouk, the eldest daughter of the family, is the first victim of this violence. Indeed, the cultural, traditional and mental side of this crime outweighs the sentimental side. It is the paradigm that is at the origin of this contradictory behavior in these men. We know that in the social sciences, the term paradigm is used to describe the beliefs and values that determine how a person perceives reality and reacts to this perception. It is the way of defining the world and trying to understand it. The signs of clothing and the style of the architecture of the cellar, which resembles that of the covered bazaars of the Qadjar period, confirm to us that the first generation of girls presented in the film belong to the end of the Qadjar dynasty and the beginning of the time of the first Pahlavi, when society, very traditionalist and closed in, prohibited women from public and social life where their role was limited to domestic tasks. The Paternal House presents itself as a meticulous study of the patriarchal culture that dominated and still dominates the majority of Iranian society. In fact, the film tries to explore all the little facts that turn out to be the result of this culture. It carries signs that contribute to the understanding of this notion. Culture is transmitted from father to son. Thus, the father declares: “we have our superiority from birth”. This expression means: we are born “man”, we have it in the blood. This allusion to early childhood, which indicates the importance of the sex of the child from birth, marks the justification of male superiority. To clarify the cultural concept of this codified message, it can be said that the idea of classifying the sexes and prioritizing them according to superiority and inferiority is not natural. It is in fact the fruit of culture, and it is the virilist ideology that has given itself the task of analyzing the natural differences between men and women for the benefit of male superiority. The Paternal House is full of gestural signs that help to present male authority. All the gestural-cultural signs direct us to relate the violence of male behavior towards women with the theory of the primitive horde. Indeed, the authoritarian and all-powerful father keeps all the females in the group to himself. The sons, these “cannibalistic savages” get together and kill the father (in order to gain access to the women) and eat him as a totemic meal. It is the semiological analysis of the scene of the mourning ceremony for the father that leads us to this conclusion. According to Gagnan, “space does not need to speak to signify, it signifies directly, space can signify something other than itself, something other than its physical materiality. » This is how, in most of the sequences shot in La Maison paternelle, we feel the presence of the woman: the courtyard full of flowery vases of geraniums, the existence of large pots which are used to color threads, etc. In the first scene, we observe the dishes washed and cleaned next to the basin; all these signs refer to the woman's daily task, which she performs as a habitual function. In the yard, we see a big fig tree whose curved branches and fruits embellish the house more and more. This tree, symbol of solidarity and friendship has nothing to do with the dominant culture of the house which seems to be based on authority. In fact, all the elements that constitute the beauty of the house are architectural signifiers that form the apparent structure of the house, on the other hand the basement located at the left corner of the frame shows itself as another architectural signifier that includes the latent structure of the House. So, by this division we manage to decipher the sign of the whole house. It is based on duality more precisely on hypocrisy. The appearance of the house includes the courtyard, the terrace and the second floor, and its hidden content is referred to as the basement. The 'others' frequent the appearance of the house, of the secret of the cellar no one is informed. The courtyard is beautiful, the fig tree is generous, the water in the pond is crystal clear. This whole appearance looks like a mended rug. The false beauty and tranquility of the courtyard hides the ugliness of the basement and the unpleasant events that take place there. Male violence, an ancestral heritage, is therefore supposed to be carried out in the basement, an inseparable part of the destiny of women where men will
bury contrary opinions. Anything against family honor should go in the basement. Carpets, signs of family wealth, are woven there but the father also uses them to hide the tomb. Finally, the semiological study of the film teaches us that words, gestures and spaces are all the expression of states of mind and cultural values that must be deciphered. The cinematographic product is part of the social culture. The different elements of a film such as the characters and their first names, the dialogues, the space, etc. are signs and their signified are related to socio-cultural concepts. Thus, The Paternal House will convey its messages through signs that are present in verbal and gestural communication as well as in scenography. From all the studies of verbal, gestural-cultural and architectural signs, we can realize the superiority of masculine culture and its disastrous consequences on the lives of women.