This research studies a new method of analogy that AI-Hazly had used in his poetry, the circular imagery. It also studies the effect of this method and its role in communicating the minute details of meaning with the listener and acknowledges AI-Hazl
y's skill in composing this method, to communicate with the reader the poet's sensations and life experience.
إن أية ثورة شعبية تعني حدوث تغيير نتيجة انتفاضة البشر و تمردهم على وضع معين، و تعد ثورة الإمام الخميني واحدة من أهم الثورات و أندرها في تاريخ الشعوب و الأمم، فمنذ انطلاقها اتخذت شعارا لها "لا شرقية و لا غربية، جمهورية إسلامية". أما الثورة الأدبية، فه
ي - انعكاس للثورة الشعبية - و تعني التمرد على الآداب الموجودة، و قد أثرت الثورة الإسلامية في إيران في الأدب و المجتمع على حد سواء، لاسيما الشعر الفارسي المعاصر، فمنذ أوائل الستينيات، و بسبب معارضة الشعراء للنظام البهلوي قام بملاحقتهم
و سجنهم و تعذيبهم، و فرض عليهم أنواع الحظر الفكري، و بعد الثورة شهد الشعر بعض التغيرات، و تأثر الشعراء بالثورة، و تناولوا أمورا كانت محظورة من قبل كالظلم، و الاستبداد، و قهر الشعب، و لما نشبت الحرب بين العراق و ايران نتجت حالة جديدة من التعامل شعريا مع الحدث، و بدأ اهتمام الشعراء بقضايا الحرب، و منها: حب الوطن، و التٌطير من الحرب، و هاجس وحدة التراب و غير ذلك، و من شعراء قبل الثورة صفار زادة، و علي معلم، و شهريار، و سبزواري. و من شعراء بعد الثورة أمين بور، و هراتي، و حسيني. و غيرهم.
The description of place in the novel, Beautiful Damascus, is
associated with its creator’s cultural dimension, so he impregnates it
with his thoughts and aspirations. Place description is one based
upon interpretation. He did not describe geograp
hical places in
particular, but he intended to form them in an artistic manner which
serves his ideas. He also described place both accurately and in
accordance with the novel’s characters’ activities within that place.
Place description is linked to colour so that it can reveal their
psychological situations. He also described non-visible place
because he felt that eyesight is not alone capable of description in a
perfect way.
The quality was not the creation of this new era, its roots date back to
the old Arab scholars. They have studied it in-depth in their scientific
publications, the poets were sitting and competing with each other in
Makkah's markets to choose the
best poetry, through a committee of
quality experts who judge their poetry. The meanings –which have the
topic of composition and its rules- having a great deal of quality. Al-
Jurjani had studied and treated this topic exhaustively, when he criticized Al-Jahiz who were interested in the literal meaning which has no value unless it has a noble meanings. Add to that, the Arabic script has a big merit in the language, Allah Subhanahu Wa Ta'ala (S.W.T). Said: ﴾Nun By the pen And by the record which (men) write1﴿ Allah S.W.T. has oath in the pen, because it has a big honor, and the person who writes well occupy a high place in the nation. The reliable writer is close to the Sultan in most things if not all of them. In view of the punctuation marks which have a big importance in the language, to know the devision and connecting of the speech, and also the beginning and the end of it, the quality standard had been taking into consideration in all of the above matters, and obtained an elaborated study in old times of Arabs.
Women occupied the foreground and background of poems. Poets wrote poems about her, describing her in detail. The technique used to depict these features that gave the poem its form is one that had been brought to existence by that era. This techniq
ue imposed on the poem the outlines so that it came out typically representative of the prevailing social status quo. The woman, in Jahili poetry, is a beautiful image by which poets decorate the beginnings of their poems. Their relationship with the woman is on one occasion defined by exalting and respect, and on the other defined by deprecation and lust. The woman in Jahili poetry is different from the woman in Umayyad or Abbasid poetry, in terms of both status and social predisposition. Although the figure of the woman dominates poetry, it dominates it in the way the era and the poet choose. As to the status and the degeneration of the woman in the Abbasid Era, the poets' points of view vary. She is no more the appraised beauty that looks like the moon's light and the sunrise. It would be of no surprise to see poems neglecting the woman, or others referring to her along with entertainment, wine and moral degeneration. The woman becomes a symbol of seduction and corruption, represented by a cunning courtesan, or a nun.
تحاول الدراسة استثمار الدلالات الحافة بمفهوم (صورة الآخر) للمقارنة بين
أعمال أدبية تنتمي إلى ثقافتين مختلفتين، من أجل تشكيل وعي بموقف هاتين الثقافتين من مفهوم المغايرة و الاختلاف؛ ففي الأدب تتجلى روح الأمة و إيمانها و خيالها و أفكارها، لأنه الاختبار
الحقيقي (للنظرية)؛ فالدعوة إلى (قبول الآخر) شيء تدعيه كل الأمم، و لكن أدبها هو الذي يصدق ذلك أو يكذبه . و اختارت الدراسة ميداناً للعمل قصتي (حي بن يقظان) لابن طفيل و (روبنسن كروزو) لدانييل ديفو؛ فإذا كان ديفو قد استلهم البنية الحكائية لقصة (حي بن يقظان)، و كذلك استلهم أسئلتها المعرفية، فإن الصور الرؤيوية (الصورة_الرؤيا) التي تجد تجليها في الإجابة عن الأسئلة المثارة كانت مختلفةً عن مثيلاتها في قصة (حي بن يقظان) اختلافاً دالاً على نحو لافت للنظر ؛ لتعلقها بروح الأمة أو روح الثقافة التي ينتمي إليها الكاتب .
This research work tackles the strange contradiction between the political
history and the literary history of the Ottoman period.
In the first history, there is a general agreement about its end at the finish
of the First World War. In the second
, it is commonly held that is end is
with the Napolyonic campaign on Egypt in 179g, but some literary
historians did not agree; despite this they used the common belief
consequently, this work notes that this problem led to two dangerous
things: first, the misunderstanding and the underestimation of the
Ottoman literature in its important objective and artistic values.
After pointing to this problem, the work tries to trace the continued
Ottoman elements in the literature of the Renaissance period. It finds out
also that this period is so active with the Ottoman reign more than any
other period. This in its turn led to the conclusion that the movement of
the late Arab literature into modern Arab literature was gradual.
Accordingly, this research work considers the First World War as the end
of the Arab literature during the Ottoman period.
The extended text, that contains much paragraphs, is built on parts. These are
phrases, clauses, sentences.
Text,s linguists try to pass sentence for the whole of text, but they don,t ignore considering
that a sentence is the basis of analysis and
interpretation.
Collocations are a"micro semantic units" in a text, but grammatically they are sentences,
phrases, or clauses. These structures are able to give the macro semantic units,
which the producer intends to show to the receiver by several manners, or process, whereas,
part refers to whole.
Collocations may be a nucler topic storing the text,s macro semantic units, in one
part, or contain correlating " themes" to reffier to it, in second part, or include connotations
united to reffier to it, in third part.
R.Barthes declared that producer is dead, and J.Kristiva said that text is opened , so
receiver contributes in reproducing, according to his cultural background, knowledge of
the world, and experiences.
Our Study depended on "voice,scollocations", and its role in "Coherence" in Narrative
Text:( Ghadah al-Samman,s "Beirut 75").
Irrespective of the numerous readings that have closely attempted to identify a
convincing interpretation to it, the phenomenon of virginity is still a case in point that
dictates meditation. Each reading has thus relied on various procedural techn
iques that has
disclosed its capability to uncover the secrets of such a phenomenon. Those studies have
highlighted significant aspects of the phenomenon of virginity, introduced a spectrum of
exegeses, each of which has scored some sort of success; but collectively revealed the
extent of richness of this phenomenon more than uncovering its causes. Accordingly, each
answer it proposed has triggered a question, or questions, up to the degree that virginity
has appeared camouflaged by the obscurity of love itself, its charm and scale.
This piece of research is an unpretentious attempt to contribute to reach a
convincing, or at least an acceptable, interpretation to the phenomenon of virginity. Thus,
it seeks to negotiate the exegeses introduced by the previous studies, in an attempt to
scrutinize the bases that those studies relied on.
The Maqamat art grew up and its limits settled down at Al Badeea Maqamat limits(398 AH), and Al Hariri (516 AH). No one contested that. Thus, their methods represented rules and concept which the Andalusian followed. And their imitation became creati
on and the manufactured imitation increased suggesting the following of the patterns which were themselves an evidence of superiority. Researchers, almost, haven’t got one opinion about the nature of the narration in the Maqamat and its artistic value. Some of them refused it completely: others confirmed it permanently. We notice that the judgement of the opposers and the confirmers tended to generalization. The Maqama is a literary genre which has its own artistic qualities even though its limits interacted with other literary arts. The essay has its importance because it aims at conceiving the Andalusian Maqama limit, and the narrative elements in it, depending on inducting some of the Andalusian Maqama describing and analyzing it.
