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Register a new userThe Type of Narrative in Andalusian Literature
أنماط السرد القصصي في الأدب الأندلسي
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أسامة اختيار( باحث )
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يحدد هذا البحثُ مفهوم القصة من منظور وجودِها في الأدب العربي القديم، و تأتي ضرورةُ هذا التَّحديد من أهمية الوقوف على الشَّرط الفني لصياغة القصة في الموروث الأدبي، و هذا يعني أن صياغة القصة بشرطها الفني ليس مرهوناً بما أنتجه الأدب العربي الحديثُ، و لمعرفة ذلك تتناول هذه الدراسة أنماط السردِ القصصي في الأدب الأندلسي.
The story is a beautiful piece of art and it has many kinds in the ancient Arabic literature. the research studies the different kinds of narrative story in Andalusian literature.
References used
إبراهيم، د. سيد: نظرية الرواية دراسة لمناهج الّنقد الأدبي في معالجة فن القصة، دار قباء، مصر، 1998 م.
جون، هلبرين: نظرية الرواية، ترجمة محيي الدين صبحي، وزارة الّثقافة، دمشق، 1981 م.
الحكيم، توفيق: زهرة العمر، مكتبة الأسرة، القاهرة، 2002 م.
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Over the past decade, the field of natural language processing has developed a wide array of computational methods for reasoning about narrative, including summarization, commonsense inference, and event detection. While this work has brought an impo
rtant empirical lens for examining narrative, it is by and large divorced from the large body of theoretical work on narrative within the humanities, social and cognitive sciences. In this position paper, we introduce the dominant theoretical frameworks to the NLP community, situate current research in NLP within distinct narratological traditions, and argue that linking computational work in NLP to theory opens up a range of new empirical questions that would both help advance our understanding of narrative and open up new practical applications.
This paper views folk literature as one of acceptability and of rejection at the same
time. It is also concerned with the dramatic dimension of the art of lullaby in classical
Arabic literature because choreography was associated with the art of si
nging all along,
and lullabies are considered an example of their combination, because they were arranged
in accordance with a choreographic effect. And, since movement is the basis of drama,
there follows the relation between lullabies and drama.
This paper examines this subject in terms of the following mechanism:
-Identifying the terms which will form the pivot of this paper.
- The dramatic content of these lullabies
- The characteristics of dramatic discourse
This study stems from the idea that every discourse has a counter- discourse, and that
every thought has its counter–thought. Thus, what is the relation between voice and
thought on the one hand, and what are the dramatic discursive interactions in these
lullabies on the other?
This research depends on one main idea: it is the influence of
oriental Arab literature on Andalusi Literature. This idea has been shown
with an Arabic poet Ibn Khafaja, who seems very influenced by Arabic
poems in the East (Iraq & Cham).
It seem
s that this poet declared that he followed specified steps of
other poets, sometimes he was influenced indirectly, and that is what this
research is going to clear.
This research studies the elements of "story telling" in the
Andalus‘s poetry in " al-Twaef " age in. Some poets tended to display
in their poems some elements of the art of storytelling. They narrated
their adventures and certain incidents that f
aced them. However some
made used of some elements, though in incomplete way. Some did
concentrate on certain elements more than others. This would be the
area the present research aims to explore.
The research will deal with the diverse, relationships that exist
among these elements, and their dependence on each other. This will be
done through the study of some poetical samples. The method will be
analytical that endeavours to explain the structure of the poetical
stories.
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.
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