Shahram Delshad
Abstract
Panoramic narration is one of the narrative patterns that have been employed in new Arabic novels. The new narrative form has a comprehensive and extended character and superior visual strength. It allows the narrator to create his novel based on the scenes and illustrative captures. It also helps him ...
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Panoramic narration is one of the narrative patterns that have been employed in new Arabic novels. The new narrative form has a comprehensive and extended character and superior visual strength. It allows the narrator to create his novel based on the scenes and illustrative captures. It also helps him to speed up and disrupt the narration and delve into the details of the spoken material to reflect the ugliness of the material or its preference for more impact and confidence among the audience. Applying panoramic narration to Ahmed Saadawi’s novel Frankenstein in Baghdad, this article aimed to study this narrative pattern and its main characteristics in this novel that monitors some Iraqi issues in the current era. The study concluded that the novel has distinct characteristics in terms of the novelistic elements, approaching it with a panoramic narration. The narrator narrates the events according to the background or over-view observing them from a distance. It was also found that Saadawi describes the events and scenes in a comprehensive and realistic manner, as if they were running towards our eyes completell like the camera records. So we can see the visual power of the events clearly in the novel due to the possibility of panoramic narration in depicting things.
Shahram Delshad
Abstract
In recent times we find the employment of music, its techniques, machines, types and functions in the new Arabic novel directly and artistically at multiple levels. It seems impossible or very difficult to employ music in novels because the relationship between them is not explained in the novelistic ...
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In recent times we find the employment of music, its techniques, machines, types and functions in the new Arabic novel directly and artistically at multiple levels. It seems impossible or very difficult to employ music in novels because the relationship between them is not explained in the novelistic text, and unlike poetry we do not feel its presence easily. This study takes the novel Al-Masaaer (المصائر) by Rabi al-Madhoun as a sample to study the feacures of musical narration and its specifications. It used a descriptive-analytical method for this purpose. The study also reviewed the aesthetic features and intentions that the novelist seeks by employing this new narrative system. The result showed that Al-Madhoun consciously has utilized musical narration and paved the way in his novel by using the indicators and techniques of this narrative style. The most important mechanisms of musical narration like the musical framework, have combined and made it a ground for the narration in the novel. In addition, the novelist took care of rhythmicity in transmitting the themes.
Seyed Mehdi Masboug; Shahram Delshad
Abstract
Literature has never had an epic meaning, an independent literary genre with specific rules and norms; But sometimes we come across poems and works with epic themes and components. These poems are mostly in the form of long poems, the epic theme of which can be seen in parts of these chants, especially ...
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Literature has never had an epic meaning, an independent literary genre with specific rules and norms; But sometimes we come across poems and works with epic themes and components. These poems are mostly in the form of long poems, the epic theme of which can be seen in parts of these chants, especially when they are proud. But in the poets of the conquests in the early days of Islam, we sometimes come across ode and fragments with epic components; Among the poets of this style can be named Qaqa ibn Amr Tamimi. His poems, being scattered, are useful for recognizing some of the most critical Arabic epic poetry components. Arabic poetry as an epic is one of the most vital and challenging topics in contemporary research. While confirming the lack of long epic works in Arabic literature, this study has organized to prove some epic themes and dramatic and heroic anecdotes in Arabic poetry. Therefore, the present study has tried to explain and analyze the three essential characteristics of the epic genre in Qaqa ibn Amr Tamimi's poems, an Arab poet and fighter during the Islamic conquests descriptive-analytical method. The research results showed that the epic poem of Qaqa has essential epic components such as war and warfare. With all its epic features and the resonant epic style, the hero, growing up in a realistic and Islamic environment, lacks the characteristics of mythical epics such as magic, astronomy, the existence of strange animals and demons, and divination.
Seyyed Mehdi Masboogh; Shahram Delshad
Abstract
Expanded abstract
1- Introduction
Most of the literary critics consider Arabic classical poetry as lacking cohesion and organic unity and believe that long Arabic odes do not have the necessary cohesion and do not have a good and ordered organization. But lack of cohesion in an ode as a whole does ...
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Expanded abstract
1- Introduction
Most of the literary critics consider Arabic classical poetry as lacking cohesion and organic unity and believe that long Arabic odes do not have the necessary cohesion and do not have a good and ordered organization. But lack of cohesion in an ode as a whole does not indicate lack of cohesion in its various parts. That is, if an ode is divided into four parts, maybe there is no unity among its different parts but there is a special cohesion and harmony between the verses of each of these parts. The present study has been written in order to explain the cohesion between the internal parts of classical Arabic ode. Therefore, the verses describing wolf by Buhturi, the well-known poem of the Abbasid period, are criticized and analyzed through descriptive-analytical method and based on a part of Cohesion Theory of Michael Halliday, known as conjunctive cohesion, in order to obtain the application of this theory in Arabic descriptive poetry as part of long Arabic odes.
2- Theoretical Framework
There is a kind of cohesion called conjunctive cohesion. In this method, conjunctive devices create cohesion between textual propositions larger than a word, and establish linkage between the last and the next propositions (Khatabi, 1991). Hence, conjunctive cohesion means a semantic and logical relationship between the sentences of the text. Conjunctive cohesion is divided into four types of additive, causal, adversative, and temporal” (Lotfi Pour Saedi, 2006).
Therefore, there is a significant difference between this type of cohesion and other types of cohesion; because in this type of cohesion the connection between two sentences and two sections or narrative clauses is direct (Zanad, 1993). Some of these devices have an incremental function and add additional information and knowledge to the text and make the sentence more meaningful than the previous sentence. Sometimes, they also create an opposite and contradictory meaning in the text and are brought against the previous subject; but some of them are added to the text in order to create a result and they create a causal relationship between textual propositions or cause the creation of a temporal relationship in the text (Khatabi, 1991).
3- Research Method
The present study tries to criticize and analyze this part of the ode through the descriptive-analytical method and according to Michael Halliday’s theory (Born in 1925) and the four factors of conjunctive cohesion, and measure the application and reflection of conjunctive elements in these verses and indicate their frequency, function, and implications.
4- Research Findings and Discussion
- If we look at the most famous descriptive odes of classical literature, we will see that these odes have various types of additive relations. In the verses describing the wolf by Buhturi, this type of cohesion is seen in a beautiful manner; such that all the things in this part of the ode have been described correctly and completely and the reader is persuaded. These verses, using the functions of additive relation, have been able to look as a painting panel with inclusiveness of the elements, and provide a comprehensive picture of the battle scene to the audience.
- Any text may consist of a series of contradictory propositions and events that the writer expresses using adversative conjunctive elements. This subject is less used in descriptive texts due to the correlation and coherence of the descriptive elements; because the increasing use of this relation is when the text consists of different interactions and in some cases, these actions may be against each other. Although the verses describing the wolf by Buhturi have a set of semantic and structural contrast, these contrasts have less appeared in the text layout, and the poet has less used the devices of adversative relation.
- When the descriptive verses of Buhturi become dramatic with a moving aspect, a causal relation is created in them; and when he is merely describing and expressing the features of things, the causal relation becomes low in that; given the dominance of the descriptive element on the dramatic and narrative elements in these verses, the amount of using causal relation is lower in these verses.
- Buhturi, in his verses describing the wolf, after describing the night and the state of hunger and emaciation of the wolf, describes his battle with the wolf, in which temporal devices are seen increasingly. In addition, the description of his battle with wolf requires using a temporal relation because every event involves time. Therefore, in this part, we can see a sequencing and temporal continuity between the verses. So, the poet in this part has no way other than using the devices of temporal relation; for example, the words “Somma”, “Fa’”, and “Vav” have been used many times.
5- Conclusion
From what has been mentioned in this study, the following results can be obtained:
In these verses, the poet has described his battle with the wolf coherently and beautifully and has used conjunctive devices in different methods in order to give cohesion to the verses. The overall result of the research shows that Buhturi, using the factors of conjunctive cohesion, has been able to compose a cohesive poetry that its elements are related from the beginning to the end, and this link and cohesion has been achieved through a proper and logical use of these devices. Overall, additive devices such as reference “Vav” and also temporal devices such as “Fa’” have a great role in giving cohesion to these verses.
