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يحاول هذا البحث الكشف عن جماليات الشام في شعر بدوي الجبل. فلم تكن الشام في نفسه مكاناً جغرافياً فحسب، بل كانت عاصمة للمجد العربي في الماضي و هي كذلك في الحاضر. لقد ولجت مجالات وظيفية جديدة، فهو يتحدث عنها "الشام الأموية" بصورة "ملحمية" و يقدمها نموذجاً إيجابياً يرقى للمثال الذي يحّفز و يلهم و يقود، و كانت ضرباً من الرؤية الفنية التي لم تفقد طاقتها التأثيرية – على كثرة تكرار الحديث عنها - فظل إشعاعها متقداً يفتح أمام روحه منافذ البوح. و ذلك بسبب دقة إحساس الشاعر برؤيته الإبداعية "للشام" و صدقه في التماس ماتوحي به. فاستهلك في عشقها قاموس الحب و الحنين، و كثف في وصفها شذى ياسمينها الفواح، فسجدت قوافيه أمام جلالها، و حنى هامة الشعر تبجيلاً لتاريخها الذي يحمل خصوصية قومية ماتزال جذوتها متقدة على مر الزمان.
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References used
إضاءة النص: اعتدال عثمان/ دار الحداثة 1988
اتجاهات الشعر العربي المعاصر: د.إحسان عباس/ عالم المعرفة 1978
تحليل الخطاب الشعري/ استراتيجية التناص: د.محمد مفتاح/ دار التنوير للطباعة والنشر 1985
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It aims at research paper to study the aesthetic of
repetition in the poetry of (Badwi Aljabl) while trying to find
out the nature of this technique, its structure, its aesthetic
formulation, which included Repetition of the word, repetition
of t
he phrase, repetition of the phrase, the repetition of the
syllable, the initial repetition, to detect its rhythmic energies, its
moral horizons, its psychological dimensions, its constructive
architecture, its affective potential, and its abilities to suggest
the creator's experiences and also how far the poet to well
structured using it as an effective tool in its poetic text.
This research seeks to explore the role of deviation in the poetics
of operative language on the one hand, its revelation of the artistry
of thrill and surprise in terms of rhetorical images on the other hand,
through analysing the poetic text which starts from actual language
towards the spaces of rhetorical images, and combines the internal
and the external as the text suggests.
Murals are one of the techniques of delineation, which was influenced by Hantine
and Sassanian in fluencies. They been their independence in the Umayyad period to
maturity in the Abbasid era.
The Levant was one of the centers of creativity for the
se drawings implemented
in a mosaic and frisco. The drawing are important documents in history,arecord of daily
life and evidence of settlement.to know the properties of the wall paintings, it is necessary
to study the drawings which were implemented in the mosaic and in Frisco. There fore, the
focus was on important bulding that included the drawing in mosaic such as the Dome the
Rock and theUmayyad mosquen and the khirbat al-mfjar palace. And the drawing in frisco
such as Omra palase and palase of western Hier.
The term greatness was taken on multiple meanings, and different
ways. However in the Islamic Arab thought, which Al-Motanabby
belongs to this concept was based on an essential point which is
perfection. In other words, perfection is the core of g
reatness and the most important feature in it is glory.
In Al-Motanabby's poetry, greatness was manifested in this sense,
and included many elements of existence, but the clearest and most important image was the one of the great man. Therefore, we focus, in this study, on human greatness through two images:
First, the great self, the image of Al-Motanabby him self.
Second, the great hero, the image of Sayf-Aldawlah the ideal savior Arab hero .
And as great is associated with beautiful for Al-Motanabby, so we
clarified his understanding of this kind of beauty, to discover that it was from spiritual or mental word, and not from material one
This paper attempts at focusing on analyzing the poetic structure of a pre-and-post-
Islamic poet who witnessed and lived in the early Islamic and Umayyad Eras. With regard
to the objective, the paper is intended to shed light on the major features
and master pieces
of literary output, be its prose or verse, which is the human ego, the driving force and
dynamo behind any human creativity.
In this regard, the paper attempts at categorizing the major subjective characteristics
of a famous poet, such as Al-Farazdaq, who represented a unique phenomenon on the
creative, literary, and poetic scene, through the poetic satirical exchanges with Jareer, the
Umayyad poet laureate.
All this is being dealt with through trying to trace the major characteristics of this
ego and the impact it had left on the Arab poetic output.
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