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Register a new userThe symbol and the myth in the poetry of the resistance in the Arabic and Persian literature, a comparison between the Iranian and Palestinian literature, 1960-1990
الرّمز والأسطورة في شعر المقاومة في الأدبين العربيّ والفارسيّ مقارنة بين الأدبين الإيراني والفلسطيني 1960-1990م
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Damascus University أطروحة دكتوراه
Publication date
2015
fields
Arabic
and research's language is
العربية
Created by
Shamra Editor
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الرمز والأسطورة من الأشياء التي أكثر الشعراء من تجسيدها في أشعارهم ولاسيما شعراء المقاومة لأنهم وجدوا فيها خير معبر عما يريدون إيصاله إلى المتلقي , ولأنهم ألفوه تصويراً صادقاً لواقع أمتهم التي وقعت ضحية للطامعين والمستعمرين ومن هنا أكثر شعراء المقاومة في الأدبين العربي والفارسي من استخدام الرموز والأساطير في أشعارهم .
Symbol and legend are among the things that most poets embody in their poems, especially resistance poets, because they found in them the best expressive of what they want to convey to the recipient, and because they composed it as a true depiction of the reality of their nation that fell victim to the greedy and colonialists. Hence, most resistance poets in Arabic and Persian literature use symbols and legends in their poems.
References used
أحمد دحبور , ديوانه , دار العودة , لبنان , بيروت , 1983م.
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Nasser Kusro lived between 394 and 481 Hijri , and he was one of
great scientific figures and one of the most important fifth century poets
and writers. He was effected by Arabic and its education and that
appeared in several forms.
The holly Qur
an was his first inspirer , he was effected by it in
terms of the dismissial and the content as was effected by the prophet,s
Hadith and Nahj Albaalaghah. And within his poetry we can see the
arabic words and structures.
Also he was affected by the Arab poetry, their proverbs and their
sayings. By that he mixed between what it is Islamic and what it is
Iranian until he created akind of the controversial style in the poetry that
was not known before him.
يشكل تأطير أساطير العالم القديم في الشعر الحديث بداية مزايا تكثيف النص الشعري وتشكيل طبقات القصائد - الأساسية منها والفرعية - خاصة إذا ما كانت هذه القصائد مشبعة بالاساطير
Through the stages of world literature and its developments based mainly on the social conditions that accompany each literature, poetry has also witnessed a diversity in its handling of multiple topics that mattered to the poets of every era. Others
dived into a sea of imagination and emotion that has no resolution. There are those who resorted to the symbol cave and found a safe haven from the evils and evils of society, which many poets portrayed accurately and realistically, and its alleys reached the point of stressing the issue of enlightening and sensitizing peoples, and some of them also tried Zia of gratitude and the mystical symbol. He quotes him as tools to express his love for the divine.
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?
Description is one of the most important elements of poems and poetry, because of its presence in all poetic purposes. It depicts the reality of Arab poetry and is not limited to drawing shapes, but it accounts for their existence. It is measured by
the standards of beauty and precision, and the ability to suggest, depict and search in imagination.
Poet kings and leaders are abundant in giving consecutive images of the description subjects. Those images, or depictions, are taken from the environment, so they described manifestations of nature and the universe around them. Therefore, the description came as a manifestation of their passion for the homeland, and pride in the beautiful nature. It also came as an embracing of the joys of life, and as a depiction of their feelings and the harsh experience they have suffered inside the prison, including the features, the feelings and attitudes worthy of attention.
This study investigates the poems of kings and leaders which were descriptive. Some of them are elongated descriptions where they composed long descriptive poems, such as those on the manifestations of silent nature, a subject endearing to them. It was so because this subject motivated them to spontaneously and fluently compose poems on the bright nature of Andalusia, and the tender personality of the Andalusian which was eager to the manifestations of beauty. On the other hand, there was another kind of description, which was swift and suggestive.
On a different scale, we will portray in detail their experience in the darkness of the prison. We will follow the features of the general image of the prison, through our treatment of partial images drawn by each individual poet in different positions.
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