The thesis tends to study of (Blindness factor in the poetry of Bashar Bin Bord), in an effort to rehabilitation of the poetic
phenomenon which was tarnished through much of the social and historical details, and this means that the thesis won't be
seeking for collecting the information spread in the books and references about Bashar, unless that shed light on the information intended to be focused, which is the deformity factor (blindness) in the poetry of Bashar groping the diction methods that he followed to convey his are, and reveal the locution and artistic phenomena inn his poetry. Further, the thesis raises a bunch of questions, even though it won't be able to answer all of them, as this requires a bigger space not available in this small research, and needs a bigger devotion and effort.
Out of these questions: what is the difference between the born blind, blind and night- blind? what is the proper wording to express the deformity of Bashar? And the more important question: how could the blind, Bashar, depict a world that he had never seen, whereas his eye, i.e., his photographing camera? Then, what are the other senses that he developed and depended on as alternatives to depict the outside world? What is the nature of the sensational depiction in his verse? Then, what is the scope of reflection and effect of blindness on his character, poetry and some of his subjects?
The prominence of the subjective aspect in Prince Manjak's poetry has
made him by far one of the most renowned poets of the Ottoman Period.
This aspect is well and fully exemplified by his poetry of alienation. His
alienation manifests itself in t
hree dimensions:
1. Conscious alienation that penetrates deep into the personal
obsessions vis-à-vis the suffering of staying and itinerancy,
the bitterness of deprivation and failure;
2. Temporal (Time) alienation, incorporated in the absence of
spiritual, social and moral communication with others,
following his consciousness of departure from his period
deepens; and
3. Spatial (Place) alienation, as a result of his life turning into a
muddle of anxiety, confusion and instability.
However, the poet then strives to overcome his alienation and
compensate for his estrangement and deprivation through recalling the
past, celebrating himself, evoking legacy, and sticking to faith. To
achieve that end, he uses, as a vehicle, his distinctive language that
speaks out his emotional experience and individual ability to pick up the
exact, most felicitous term. Therefore, his poetry is seen to be rich in
everlasting artistic portraits –portraits expressive of a conscious self that
transcends reality to embrace the contradictions of existence, and
subsequently looks forward to a new world, alive with all that is pleasant,
fair and noble.
In the poetry of Mahmoud Darwish, self-disunity and absence
acquired deeper and wider horizons because they represent part of his real
life. This study discusses the denotations of self-disunity and absence
starting from his first Diwan “Olive Lea
ves” published in 1964 and
ending with his last Diwan “the Butterfly Effect” published in 2008.
Darwish expressed his self-disunity and absence in several forms. We
focus in this study on six, and they are: Deletion, fragmentation, shifting,
the frequent negating, combining antonyms, and words substitution.
The current research criticizes a classical critical text that appeared in (The Book of
Al- Aghani) with two supportive clues: it is reflection to (Musa’b Ibn Abdullah al-Zubeiri),
in which it handles the poetry of (Umar Ibn Abi Rabiaa) and highlig
hts his position among
contemporaries and peers.
This research describes (Musa’b’s) text: it discloses the style, analyses the
constituents, interprets the critical terms and viewpoints, tends to pursue the implications
through scrutinizing the proposed poetical coexistences, up towards conceptualizing the
emerging critical insight-being a critical insight that represents a creative approach within
the critical thinking of Arabs. This is due to that the fact that Musa’b’s legacy stands as the
primordial classical critical Arabic text that encompasses the receptor’s viewpoint in the
comprehensive intuitive experience. Nonetheless, it does not consider the influential
impressionistic rules that had been concurrent at that age sufficient, neither finds it
efficient to have one, two or three lines of verse to pinpoint its viewpoints, as had been the
custom. Rather, it studies the wholesome of Omar’s literary production (Umar’s
Anthology) being one single text in which he pours his expertise, thoughtfully penetrates
its essence in an attempt to uncover the secrets distinguishability, excellence over its
contemporary texts. Therefore, it stands as the first critical Arabic text that examines the
(stylistic uniqueness) that characterizes an outstanding creative figure via the creatorreceptor
interaction over the domain of the text.
Al-Mutanabbi, as we all know, is a poet who filled the world with poetry providing a
tale and reflecting the sublimity of creation and art.He is still like a torrential spring from
which scholars drinkn to quench the thierdt of their pens in search
of his creative works,
trying to reveal the secret of that creation which involves inventive psychological feelings
that made him form his poetry with wonderful aesthetic artistry, something which, gave
Arabic a particular dealing with the word use which, perhaps, is almost unique to Al-
Mutanabbi so that this creation which remained constanly with him till he became famous
for it as if it had been his identification card he held. No sooner does ascholar read that
language than he sees Al-Mutanabbi's ID Card which has later became the ID card of
Arabic poetry, affecting its advance and restrationcreativey, aristically and intellectually
throughout ages and history.
This paper reveals critical issues dealt with by al-Sharif al-
Murtadah in his poetry. These issues were then dealt with by critics of the
day. Al-Murtadh included in his poetry such themes as ''The Nature of
poetry" ; "Incentives to artistic inno
vation"; as well as themes dealing
with expressions; meaning; variety; succinctness and digression; and
poetic citations from other poems. All this verifies his being wellinformed
on the critical issues of his time.
يحاول هذا البحث رصد مفهوم «النموذج » و تطوره في شعر الطبقة الإسـلامية
الأولى من طبقات ابن سلام الجمحي، فيحدد أولاً مفهوم «النموذج» في الشعر الجاهلي
عامة، و في شعر المديح خاصة. ثم يتتبع هذا المفهوم و تطوره في صدر الإسلام و يبين
أن هذا التطور نجم عن تغير منظومة القيم، و اتصال المدح بأحداث الحياة.
The Andalusian prose has a history of greatness , and quality in
which it is written .
This research comes to prove the admiration of the Andalusian
ى writers of the Oriental heritage in general , and poetry in particular,
despite their different
ideological and literary attitudes , by
revealing the manifestations of poetic heritage in the Andalusian
prose , and highlighting the most prominent poets influenced by the
writers of Andalusia , and took from their poetic texts to meet their
literary needs .
يشمل المرجع ٥٨ صفحة عن تحليل قافية النون في ديوان الإمام الشافعي. بالاضافة إلى
النموذج والتنوعات، الهيغوغرام
المصفوفة
يحاول هذا البحث مقاربة عناصر التخييل في شعر محمد عمران, انطلاقاً من أهمية التخييل في المعمارية الفنية للقصيدة العربية, ودوره في رفد هذه القصيدة بمقومات الجمال والشعرية, إذ يُعد الخيال جوهر الصورة الشعرية, ومجالها الحيوي الذي يضمن لها الفاعلية والتأثي
ر على المستويات كافة, وقد اعتنى البحث بنظرية الخيال عند الغرب والعرب على المستوى التنظيري, ثم اختبر فاعلية التخييل في شعر عمران من خلال أربعة عناصر أساسية, وهي: الابتكار التخييلي, والمبالغة التخييلية, والتجسيد والتشخيص, والوعي التخييلي, ليصل إلى نتائج تُبيّن جماليات التخييل ودوره في الارتقاء بالنصوص الشعرية إلى ذرا دلالية مفتوحة على التأويل.
