somayeh Bigghalejogh; shossein seyedi
Abstract
The concept of literariness and its components is one of the most contentious issues in the field of literary criticism, which has yet to submit a definitive and specific definition, despite the efforts of many critics and literati; Adonis, a prominent Arab theorist, and critic, is one of the few critics ...
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The concept of literariness and its components is one of the most contentious issues in the field of literary criticism, which has yet to submit a definitive and specific definition, despite the efforts of many critics and literati; Adonis, a prominent Arab theorist, and critic, is one of the few critics who has been able to propound new theories about literariness. His views in this field have gone beyond the limited definition of poetry and have entered a broader field, literary theory. Therefore, in the present article, using the descriptive-analytical method, we have studied the concept of literariness and its components, this time from Adonis's point of view. What emphasizes the need for such research is that finding Adonis's special view on the subject of literariness and its components paves the way for a more accurate understanding of his poetic theory and highlights his unique position as a literary theorist. Thus, the purpose of the authors in this study is to explain the concept of literariness from the perspective of Adonis and to achieve this, we first explained the concept of literariness and its most components based on the opinions of Arab and Western critics then, by comparing these foundations, with the literary theories of Adonis, we tried to reach his literariness views. The results of the research indicate that Adonis, in his theory of literariness, uses the word poetry as an equivalent for literariness, and, like Western and Arabic critics, he has used literariness as a theory for reflection in the aesthetic judgments of the text. In addition, from his point of view, the writing stage is like a link between the first stage (oral) and the third stage (literary modernity) , and poetry at this stage becomes an open structure with many views.
Literary Criticism
Alaa Mahdi Mazhar Al-Breej; Hosain Sayyedi; Zargham Ghabanchi
Abstract
Employing myth is one of the aesthetic expressive tools used by modern poets in their poetry. Its use in modern poetry is so prevalent that it has become one of the most important phenomena in modern and contemporary literature, distinguishing it as a feature of modern literature. Almost every poetic ...
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Employing myth is one of the aesthetic expressive tools used by modern poets in their poetry. Its use in modern poetry is so prevalent that it has become one of the most important phenomena in modern and contemporary literature, distinguishing it as a feature of modern literature. Almost every poetic work contains symbolic and mythological references. In an attempt to find a style that harmonizes with nature, female poets often incorporate myth, creating metaphorical or miraculous images. Myths are present in the poems of women poets, and many of them utilize these myths to convey messages about their poetic conditions, as well as their philosophical and intellectual existence in life.This study adopts a comparative analytical approach to reveal the manifestations of myth in feminist poetry. The researcher sheds light on feminist literature and the influence of Western literature on Arab culture through a comparison between two examples of female poets from modern literature: Edith Sitwell (1887-1964) and Nazik Al-Malaika (1923-2007). The aim of this study is to explore the mythological content in the poems of contemporary female poets, specifically focusing on how myth is employed in modern feminist poetry and its intensive invocation between these two poets.The results indicate that there is an influence of Western literature on the poetic development of Nazik Al-Malaika, with evidence showing that Greek symbols dominate her poetic texts. Additionally, she incorporates some religious myths based on Christian narratives into her discourse. On the other hand, Edith Sitwell creates unfamiliar symbols and images from her own imaginative world.Through this study of the employment of myth in Arab and Western literature, the mythic image is manifested in the imaginative features of the two poets. This expression of artistic linguistic text is blended with elements that are relevant to reality. The present study represents the first attempt to explore this concept by examining both cultures. It becomes evident that the use of myth serves as a means to revisit the primal origins of life.
Shadi Dogani; Azam Estaji; Hosein Seyedi
Abstract
The purpose of this study is to examine the arguments used in Tahaddy verses based on Douglas Walton’s (2008) framework. In this study, we contrast the arguments presented by Tahaddy verses with Douglas Walton's (2008) arguments, and then examine each argument in turn. Muslims believe that God, ...
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The purpose of this study is to examine the arguments used in Tahaddy verses based on Douglas Walton’s (2008) framework. In this study, we contrast the arguments presented by Tahaddy verses with Douglas Walton's (2008) arguments, and then examine each argument in turn. Muslims believe that God, as the creator of man and the absolute universe, provides the best argument for convincing people, so it seems crucial to examine the arguments in the Qur'an and make them known for their own benefit. Therefore, it is necessary to examine these arguments, since the results of this research might lead to a deeper and more accurate understanding of human logic based on God's knowledge of man. It is known that God asks the polytheists in five verses if they claim this Qur'an is a human word (and the word of the Prophet himself), then bring even one verse like them. These verses are called Tahaddy in the Qur'an. This type of argument seems to be a unique and exclusive type of argument that does not fit into Walton's context due to its idiomatic meaning. Following our review of the Tahaddy verses and comparison with Walton's argument schemas, the study came to the conclusion that the argument used in the Tahaddy did not correspond to any of the sixty cases Walton introduced. Therefore, we introduced Tahaddy as a new argument to this model with a new scheme.
Hasan Dehghan; Seyed Hossein Seyedi; Hossein Nazeri
Abstract
The present study is the historical and descriptive semantics of the word "talla," which is one of the hapax legomena of the Holy Quran. Recognition of words as the main constituent elements of sentence structure plays a vital role in understanding the speaker's meaning. Therefore, we have considered ...
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The present study is the historical and descriptive semantics of the word "talla," which is one of the hapax legomena of the Holy Quran. Recognition of words as the main constituent elements of sentence structure plays a vital role in understanding the speaker's meaning. Therefore, we have considered it necessary to study the evolution of words and their semantic relations and have undertaken this research. A brief introduction to semantics and its two historical-descriptive types, a brief reference to the "hapax legomenon" approach and its historical background, the study of this word in the context of history and its semantic implications, especially in the era of revelation, and its analysis within descriptive semantics based on "descriptive-analytical" research method is the primary purpose of this article. In the historical genre, by exploring the course of its semantic evolution, it became clear that in the pre-revelation period, in the Semitic languages, it meant "allaqa" and "rafa'a" and in the pre-Islamic era, the names "talla, talil, metall" meaning "hill, neck, and spear" implies the central meaning of ascension. In the age of revelation, it was concluded that the word "talla" with a semantic expansion approach, meaning "falling on the ground from a height" with a mixture of previous themes, has brought a comprehensive meaning. Through descriptive semantics, we have tried to explain the lexical depth of this word and its alternative and reciprocal propositions. Hence, the paradigmatic axis has a semantic relationship with the verbs "kharra, Hava, Kabba" and on the semantic opposition axis with the verbs rafa'a, Sa'eda, Raqa."
Azadeh Ghaderi; Seyed Hossein Seyyedi
Abstract
Semiotics is a text-based method of criticism, which, adopting a systematic approach, studies all factors involved in meaning production and interpretation of the process of signification. Amal Donqol, as part of the society he lives in and a poet dedicated to and concerned for his community, instrumentalized ...
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Semiotics is a text-based method of criticism, which, adopting a systematic approach, studies all factors involved in meaning production and interpretation of the process of signification. Amal Donqol, as part of the society he lives in and a poet dedicated to and concerned for his community, instrumentalized language for direct and indirect reactions against his time's empowering discourses, thus transforming his poetry into purposeful texts. Therefore, adopting a descriptive-analytical method, the present study assessed the qasida of 'Al-Buka' Bayna Yaday Zarqa' al-Yamama' in an attempt to reveal the beliefs, ideas, and thoughts of Amal Donqol, infused with the linguistic structure and instilled in the audience, through investigating the linguistic choices across different levels. Given the obscurity of Donqol's poetic language and the concealed intended meaning and content therein, layer semiotics can be significantly useful in understanding and analyzing his poems. It can, furthermore, better manifest the linguistic and semantic delicacies of this qasida. The present reading examines the qasida's text as a network of codes within a coherent framework and, adopting a layered approach, studies signs in the title and the phonetic layer, lexical layer, and syntactic-rhetorical layer. Through syntagmatic and paradigmatic axes and considering the style and atmosphere governing the qasida, the signs move away from their referential functions and gain sociopolitical signification. As a result, analyzing and assessing textual symptoms and implications takes us to the concealed or in-depth meaning of the qasida, i.e., the rulers' political vices, a reproach to the Arab nation a call to rebellion.
Zahra Rahchamani; Marziyeh Abad; Hasan Abdollahi; Seyed Hosein Seyyedi
Volume 11, Issue 1 , March 2019, , Pages 147-170
Abstract
Extended Abstract
Introduction
Simile is one the most beautiful artistic expressions and statements of rhetorical science that augments beauty of meaning with various implications. Eloquent simile would be considered the most elegant and frequent ever invoked in Nahj al-Balagh's sermons, which ...
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Extended Abstract
Introduction
Simile is one the most beautiful artistic expressions and statements of rhetorical science that augments beauty of meaning with various implications. Eloquent simile would be considered the most elegant and frequent ever invoked in Nahj al-Balagh's sermons, which embraces about two third of the sermons’ similes. Since the syntax is the basis of speech, and similes are presented in a variety of structures, each of them has a special function and implication. The present study is aimed to investigate the style of the simile of Nah al-Balaghah on the syntactic layer.
Theoretical Framework
The purpose of stylistic studies is to investigate literary texts to discover and explain their characteristics through the analysis of style making elements in order to indicate the personal style of the writer. A stylistic analysis text would divide the text into five layers including phonetic, lexical, grammatical, rhetorical, and ideological sectors.
One of the most important issues that is considered in stylistic analysis of a literary work is the analysis of syntactic (grammatical) features of the text or its syntactic style. In linguistics, syntax is the set of rules, principles, and processes that govern the structure of sentences. The term syntax is also used to refer to the study of such principles and processes.
In this paper, the syntax layer of the eloquent simile is considered in sentence structure and parallel forms. The eloquent similes in the Nahj al-Balagh sermons are in different positions, according to the role of the word and image. They have been located in six syntactic forms that this article was aimed to study them. The great work of Amir al-Mu'menin (peace be upon him) is abundant use of parallel (similar( structures.
Method
According to the extensive use ofsimiles in Nahj al-Balaghah andthe role of syntax in speech, the present study tried to investigate the style of similes in Nahj al-Balagh in syntactic layer through the descriptive-analytical method.
Discussion and Conclusion
Similes have been extensively used in Nahj al-Balaghah and this is suited to the ideology of sermons that are intended to persuade and guide people and introduce the speaker's thoughts.
Eloquent simile includes about two third of similes of the Nahj al-Balagh. This means that 66% of similes in Nahj al-Balagh are eloquent; whereas many of the similes used are plural simile, which means they have several images, and if any image is considered a simile, the number of similes will increase.
In terms of structural sentences, the eloquent similes have located in six syntactic structure regarding to the syntax role of the image, which are syntactic roles of absolute object predicate, added to likened, and type of expression, respectively. The structure of verb clause in the similes of the absolute object implies some kind of modernity. The repetition of the infinitive form produces a smooth music in addition to the emphasis in. In the similes that image is an informative sentence, the noun clause implies in stability. Hence, the similes used in these structures are also in line with Imam's goals. In most of the additional similes, sensory likened have been added to rational image. Also, most of the similes that are considered to the second object are plural simile.
Another syntactic and stylistic method used in Nahj al-Balagh is the abundant use of parallel structures. Parallel structures are made up of parallel forms connected by coordinate conjunctions and take an identical syntactic role. These structures have been used in two ways in sermons.
The first type of parallel structure is between two consecutive similes, which is the syntactic structure of the second simile that, in turn, is similar to the syntactic structure of the first simile. The second type, which is more frequent than the first type, is in plural simile, which parallel construct are between images used in the same structure. These structures have created some literary devices including repetitions, pun, rhyme and contrast in the similes that have led to their musicalization.
hosein seyedi
Abstract
Extended Abstract
1. Introduction
Modernism is among the most important cultural, political, economic and social issues of our time, the most important constituent of which is change. Thus, it is quite natural that this concept confronts that of tradition, whose essence is intertwined with stagnation. ...
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Extended Abstract
1. Introduction
Modernism is among the most important cultural, political, economic and social issues of our time, the most important constituent of which is change. Thus, it is quite natural that this concept confronts that of tradition, whose essence is intertwined with stagnation. Tradition has been used in three senses: 1) what is called Islamic and Shite Tradition? (Sunnah), 2) the entirety of a society’s traditions and customs, and 3) an inclusive general tradition. Modernism, a derivative of modo, means “of today” and is used to distinguish something from previous periods. In Arabic language, terms such as Al-Asriyyah (العصریه), Al-Moasir (المعاصر), Asraniah (عصرانیه), and Al-Hidasah (الحداثه) are used for it. In literature, within the field of contemporary poetry, it has also been prevalent for not only is poetry a universal issue, but eschews repetition, too. Therefore, in the contemporary Arabic poetry, two movements regarding literary modernism are created. The first movement which is under the influence of the French revolution believes in The Open Door Policy and the second one is a conservative and tradition-oriented movement which aimed to elucidate and explicate heritages of the past. Thus, tradition and modernism, in contemporary Arabic poetry, confront with one another. One of the major characters who has called for modernism in poetry is the modernist poet, Ahmed Abdel MutiHijazi . Hijazi can be regarded as one of the major figures of modernism in contemporary Arabic poetry. Modernism in Hijazi’s viewpoint means having a new projection of world’s phenomena, so, it can be said that modern poetry is the expression of life experiences, as they are felt by the poet’s entire being, heart, and soul.
2. Statement of the Problem
Hijazi is of the opinion that a poet is in dispute at three levels of language, thought and artistic tradition and that modernism happens in all three of these levels. In Hijazi’s view point, modernism in Arabic poetry is the corollary of the three Mahjar, Apollo and Diwan poetic schools which have three things in common: rebelling against language, rhythm, and the theme. From Hijazi’s point of view, modernism is a new necessity and reality of life which is manifest at three levels of language, structure, and theme.
From Hijazi’s viewpoint, what constitutes a poem is its poetic language and for him poetry means utilizing image, language, figurative expression, and music. However, he adds another element which is innovation and beauty; because, in his point of view, the end in science is the truth and the aim in poetry is beauty. Poetic modernism, in Hijazi’s view, is not confined to breaking down the unity of couplets, or multiplicity of rhymes or an exercise in new rhythms, but a rational expression of new logic, observed anew.
From Hijazi’s point of view, poem is a langue which is different from owing to its nature, before even rhythm sets it apart and thus he makes a fundamental distinction between poem and prose. But in connection with traditional language, he believes contemporary poets, without depriving the poetic language from its originality, through bestowing a new meaning to the terms of a language or changing the classic ones, should make the language more productive. From his point of view, we should divest language terms of their traditional senses, or lighten the load of their fixed and defunct connotations, spruce them up and refine them to carry unprecedented ones.
3. Research Findings
Hijazi, concerning amalgamation or separation of tradition and modernism, neither neglects the tradition, as some poets do, nor is outright loyal to it. In his view, a poet, without drowning in tradition, should utilize it. Hijazi believes in restructuring and reconstructing tradition and says that there are those among contemporaries who write the same as the past and feel like them just as back, then, there were those who wrote in a language close to our own and had the same concerns as ours.
The present study, using an analytical methodology, aims to unearth Hijazi’s viewpoints from his oeuvre. The findings can be summarized as follow:
1. Hijazi believes in amalgamation of tradition and modernity.
2. From his point of view, modern poetry is the revival of tradition.
Hijazi, with respect to tradition and modernism, on one hand, regarding the relation between tradition and modernism, and on the other, through mentioning the precedents of poetic patterns in the history of Arabic poetry and the prevailing circumstances then, contends that modernism, from a figurative perspective, is the result of a new perception of the world by the poet. Modernism, in his view, means to answer the raised questions which are not posed only from within the poet, but are answered through the realities in the environment.
Key words: Modernism, Ahmed Abdel Muti Hijazi.
References (in Persian)
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Tabatabai, J. (2003). New and old struggles. Tehran, Iran: Negah Moaser.
References (in Arabic)
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Al-Nahawi, A. (1992). The calendar of the theory of modernity. ( n. p. )Dar Nahvi Publishng and Distribution.
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Cahoone, L. (2008). From modernism to postmodernism (A. Rashidian, Trans.). Tehran, Iran: Ney.
Hejazi, A. A. (1986). New story and illusions of modernity. Ibdda, 3(9), 5-13.
Hejazi, A. A. (1988). Poetry of friends. Riyadh, Saudi Arabia: Dar Al-Merikh.
Hejazi, A. A. (1992). The question of poetry. Jeddah, Saudi Arabia: Khazandar Publication.
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Kheirbek, K. (1986). The movement of modernity in modern Arabic poetry. Dar Al Fikr: Beirut, Lebanon.
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