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.
In his poem "Torture of AL_ Hallag", AL_Bayati tries to benefit
of the narrative techniques since they are not only characteristic of the
novel, but of lingual discovers in general, and a system of lingual practice
which we can notice in many ling
ual genres. Using narrative techniques
in poems appears through narrative tyres because a poem maintains its
basis of harmony, description , imagination and so on .
These techniques in the text tend to more to the dramatic feature,
in which, voices and characters vary, and the narrative feature appears to
be a standard on which the poet constructs his text, and derives his ideas
and visions . He gets benefits of historic events through their existence in
order to fulfill creative writing , which in turn, produces real verse which
intensities, the narrative in a way that suits the poetic students .
Through this , the narrative structures contributes to building the poetic
text but do not totally affects them nor appear in a clear from which
undermine the poem . This means, it comes through the necessary
elements which contribute and fortify the poem's creativity , and elevate
it twards a space of beauty which might be more open to other types of
discourse .
Saadalla Wannous is considered from the most important seekers for new technical
forms in the Arabic Theatre. This appears through his plays that bear a collection of
modern technical constituents. His early plays had technical structures that gave
them
technical and intellectual dimensions. The plays of the nineties were qualified with new
tincture in both the structure and the meaning. From the technical constituents that formed
this phase in writing the scripts is the narration technique that Wannous entered as a major
structure in his drama, one of which is (Yawm Min Zamanina)
(A Day from our Time) , in which he used diverse narrative techniquesto contributed
in the production of the indicatives and signs and achieved a dramatic integration in the
Play building up.
يطمح هذا البحث إلى تقديم قراءة جديدة لرسالة الغفران لأبي العلاء المعري, و يحاول من خلال هذه القراءة استثمار معطيات النقد الأدبي الحديث للكشف عن ذخائر النثر العربي القديم الذي لما تزل الدراسات النقدية تنظر إليه بوصفه محتوى لا بوصفه بناء مترفا بغير إشا
رة إلى أن ثمة وعيا مبكرا لدى الأدباء العرب الأقدمين بأهمية الشكل, و إلى أن هذا الأخير مكون من مكونات الدلالة في النص.
This paper aims at studying the narrative functions of the stack
Chorus in selected English Renaissance plays: Christopher
Marlowe's Dr. Faustus, Thomas Kyd's The Spanish Tragedy, Ben
Jonson's Volpone. This study offers a close reading of the spee
ches
delivered by the Chorus, and shows their narration of the events and
their moral commentaries. This emphasizes their didactic
significance because they sum up the events, interpret the vague
ones and endorse the play's desired message . this paper concludes
that Jonson develops the stock Chorus by having recourse to other
characters who perform this communicative and didactic role. Here
lies Jonson's contribution to this conventional figure.
This research aims to discover the drama and narrative in old
Arabic poetry, by studying poesy Ainyat Abi Zhouaib Al Hathaly,
which consists of psychological emotional start, the poet narrates
in it his tragedy using dialogical dramatic start, followed by
narrative presentation tree growing stories: the Zebra and his
female, the bull and the dogs, two heroes.
