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Register a new userThe Structure of Poetic Image in Free Verse Text: Nazik Al-Malaika as a Model
بنية الصورة الفنية في النص الشعري الحديث (الحر): نازك الملائكة أنموذجاً
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رائد وليد جرادات( باحث )
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تحاول هذه الدراسة الوقوف عند بنية الصورة الفنية في النص الشعري الحداثي الحر، بوصفها الملمح الرئيس للحداثة بما يكمن في عناصرها من دهشة، و مفارقة، و انزياح، و خيال فسيح، يفتح الآفاق لدى المتلقين لقراءات متعددة و مفتوحة.
The study attempts to explore the structure of poetic image in the free verse of modern poetry which is considered as the main feature of modernity that lies in the elements of surprise and paradox, deviation and spacious fantasy which opens up horizons to the recipients for multiple and open readings.
References used
أحمد، محمد فتوح: الرمز والرمزية في الشعر المعاصر، دار المعارف، مصر، الطبعة الثانية، 1987 م.
إسماعيل، عز الدين: الشعر العربي المعاصر، دار العودة، ط 3، بيروت، 1981 م.
البصري، عبد الجبار داوود: نازك الملائكة الشعر والنظرية، بغداد، 1971 م.
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This textual study aims at revealing the effectiveness of
argumentation in structuring the poetic text. The study discusses two
basic dimensions in this regard: first, the theoretical dimension that will
identify the concept of argumentation in Ar
istotle's poetics, Arabic
lexicon and the traditional Arabic Rhetorical discourse. This dimension
will also discuss the different views given by argumentation scholars in
modern poetics. Finally, it will describe the relationship between
argumentation and culture, especially in cultural studies.
The second dimension is the practical one in which Al – Ra'i Al-
Numairi's (Daliah) will be taken as a model because of being a political
text. This text is made up of four paratexts: distance and discrepancies of
events, the extra-ordinary adventure and the consequences of the
unknown the revolutionary self and the worrying nighttime, and the
blaming female and the rebellions male.
All these paratexts together provide clues about argumentative
writing that clarifies the confusion in the relationship between Al – Ra'i
Al - Numairi who represents the oppressed and the Ommayad authority
represented by the caliph Abdul Malik Bin Marwan.
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 .
The object of this research is taking about the art image in the
poetry of Abu Al-alaa Al-Ma'arry's through metaphor and
metonymy. Abu Al-alaa Al-Ma'arry used the metaphor because he
was able -by using it- to evade from taking directly about the
attribute or about what he describe. So that, his metonymies varies
between the obvious and the obscure which Demonstrate his ability
to use words and puzzles to express the various meaning by using
brief words.Metaphor also contributed to express his ideas and
meanings which he translated it as metaphoric images, and he
assorted his relations linking the two parties.
The proposed study suggests that exploring style structure in
the Taf'eela Verse (free verse) of modern Syrian poetry may
be achieved through the manifestations and rich pictures that it
encompasses. But these manifestations, pictures, and linguis
tic
and artistic revelations must usher the way to the rest of the
materialized structures which are interacting with it, on the
one hand, and perhaps it overpasses them towards their distant
implied spheres, on the other hand.
The rnodern poem is characterized by breaking away from the old molds.
It also attempts to sreate models that seek to generate new poetic
sentiments. In order to reach that goal the poern follows several
techniques and rnechanisms" These technique
s attempt to establish a
rhythmical structure that rebels against the conventional musical
standards and their rigor of meter and rhyme. Moreover, they do not yield
to the power of the popular modetrs, and they move to a space where the
poet can make use of minute details so as to plan for an interior design
that is strongly associated with psychological motives and semantic
figures. Both of which will define the focal point of the rhyhmical tension
which is compatible with the development of the self and the textual
semantic. Therefore, they move towards the interior which develops due
to the interaction between the components of the text and its
interrelationships. Thus, this paper shall seek to trace the factors and
constituents that take part in the formation of the rhythmical structure
away from the external component represented by the meter and rhyme
scheme. The paper adopts literal repetition as a means to find out about
the aspects of the internal rhyhm and its contribution to the construction
of the general rhythmical structure of the text as well as its relation with
the semantic dimension in
order to focus on the relation between rhyhmic semantic and linguistic
semantic.
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