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Register a new userBelonging to the place in the introduction of the Omayyad poem
الانتماء إلى المكان في مقدّمة القصيدة الأمويّة
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ينشد هذا البحث دراسة الانتماء إلى المكان في مقدّمة القصيدة الأمويّة، و الانتماء علاقة تتّسّم بالتّداخل و الاندماج بين الشاعر و المكان، ما يدل على قوّة الحضور المكاني في ذات الشاعر على وفق أبعاده المختلفة. و قد تجلّت علاقة الانتماء إلى المكان في الشعر الأمويّ في مظاهر مختلفة، و صور متعددة؛ منها مقدمات القصائد التي كانت في كثير من جوانبها تجسيدا لتجارب الشعراء، بما فيها من الأمل و البعد و الفراق و هاجس العودة...الخ؛ ذلك أن الانتماء إلى المكان ليس انتماء إلى مجال طبيعيّ و حسب، و لكنّه- أيضاً - انتماء إلى مجال اجتماعي؛ بما فيه من عادات و تقاليد، فالمكان و الأفراد الذين يتفاعلون معه، يمثّلون وحدة متكاملة، ينتمي إليها الشاعر، و يشعر في ظلّها بالألفة و الحماية و الأمان.
This research studies the idea of belonging to the place in the introduction of the Omayyad poem . Belonging is a relation that involves emergence and intermingling between the poet and the place . This denotes the special presence in the poet's self according to its different dimensions . The relation of belonging has different aspect and images in the Omayyad poetry , some of which the introductions of the poems that have been , the embodiment of the poet's experiences such as hope, departure and the obssession of returning , etc. because the special belonging is not only a natural one but it is also a social one with its values , customs and traditions . Individuals and the place the interact with it form one unity which the poet belongs to and feels safety , protection and intimacy in it .
References used
ابن قيس الرقيّات، عبيد الله. الديوان. تحقيق وشرح محمد يوسف نجم. بيروت: دار صادر.
الأصفهاني، أبو الفرج. الأغاني. بيروت: دار إحياء التراث العربي، 1976 م.
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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.
The presence of place had a distinctive position in the stream of consciousness that
made it able to show and rise the humanbeing's problems precisely and frankly from many
different views. Probably. The most important problem is making the emotion
al
relationship eminent and this what relates the human being to the place and the effect of
that on turning the relation of the human being with the place into a mutual one that made
the perception of the place nourish the emotion and vice versa and within this concept,
that mutual relationship has uncovered the depth of the gap between two worlds which
neither of them belongs to the other and they are the inner world and the outer one clearing
the self-crisis in its searching for domestic place or in its wish to escape from frightful
place to a safer one and because the awareness has no limits in the pre-speaking levels, the
confused human thoughts and intelligence have accompanied his constant searching for the
place and his dream in achieving his belonging goal.
The description of place in the novel, Beautiful Damascus, is
associated with its creator’s cultural dimension, so he impregnates it
with his thoughts and aspirations. Place description is one based
upon interpretation. He did not describe geograp
hical places in
particular, but he intended to form them in an artistic manner which
serves his ideas. He also described place both accurately and in
accordance with the novel’s characters’ activities within that place.
Place description is linked to colour so that it can reveal their
psychological situations. He also described non-visible place
because he felt that eyesight is not alone capable of description in a
perfect way.
Modern Arabic architecture has been facing important challenges imposed in many fields by changes occurring internationally and in the West, especially in terms of architecture. The effect of these changes on the visual appearance of the city has bee
n clearly evident, with everything this entails in terms of formation and architectural samples. This was due to a group of internal and external effects which contributed to accelerating the spread of intellectual theoretical movements and new architectural philosophies which differed in how they responded to local data.
This really problematic trend in modern Arabic architecture became apparent and manifested itself by achieving balance and integration between originality and tradition on the one hand, and modernism and contemporariness on the other. The number of frames available to the Arabic architect became more numerous, to include rejection, advocacy and reformation, and this was reflected in the architectural formations which became multiple and were characterized by pluralism. This led to the loss of their local identity and to a contradiction between their visual and formative modes. A number of Arab architects became aware of this problem at the end of the 20th century, so they analyzed its causes and its transformative mechanism. Attempts were started to find logical and rational solutions to guarantee harmony between technical and scientific development on the one hand, and a sense of belonging to the place on the other.
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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