research article
Hossein Abvisani; laila hoseini
Abstract
Extended Abstract
1. Introduction
Mustafa Wahbi al-Tal known as Arar was a Jordanian poet and intellectual whose works consist of themes such as love, wine and drunkenness, being and nothingness, life and death, debauchery and pleasures. Defamiliarization, a significant feature of his poetry, has been ...
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Extended Abstract
1. Introduction
Mustafa Wahbi al-Tal known as Arar was a Jordanian poet and intellectual whose works consist of themes such as love, wine and drunkenness, being and nothingness, life and death, debauchery and pleasures. Defamiliarization, a significant feature of his poetry, has been done in a variety of ways, including the addition of rules, transgressions in rhymes, elegant imagery and new combinations, cohesion and harmony. Considering the theories of formalists and presenting a brief introduction on criticism of formalism and its principles, the present study attempts to explore the defamiliarization approaches applied to five selected odes of Arar in an analytical-descriptive manner. Furthermore, the study aims to answer the following question: Which type of defamiliarization approach is common in these odes and what purpose the poet have considered in choosing such literary style? And as a result of such inquiry, defamiliarization consisting of the addition of rules, phonetic harmony, transgressions in rhyme, innovation and revival in a number of Khalili rhythms of prosody can be observed.
2.Theoretical framework
Formalist criticism maintains a structural perspective towards literary works and attempts to analyze, interpret and assess their internal features. These features are not exclusively related to grammar, yet they involve cadence in poetry and its instances as well (Abbaslou, 1987, p. 95).
Formalists often regard literary works as merely a type of form. They believe that investigation of such works must be based upon form, not the content. Defamiliarization is a vast, extensive category which entails both spiritual and verbal aspects, yet it majorly deals with linguistic issues (Shamisa, 2010 ). Russian formalists consider “linguistic peculiarities” and unconventional methods of expression in a work as one of the important levels of defamiliarization. In poetry, one may notice such argument in a variety of aspects, one of which is the application of “unconventional” expressions, vocabulary and language. This sort of “breaking the habit” and opposition towards artistic rules is regarded as the main sustainable essence of poetry (Ahmadi, 2011, p. 49). Indeed, Nazik Al-Malaikia, the female contemporary Arab poet and critic, believes that “irregularities in poetry is the golden rule” (Al-Malaikia, 1997, p. 72), which can be clearly interpreted clearly at this point.
3. Review of Literature
Upon exploring the history of the study, no essays regarding the criticism of Arar’s poetry were discovered; however, a number of essays about the poet himself have been found including:
1. “عَرار:شِعریَّةَ التَجرِبَة لا شِعریَّةَ الذاکِرَة” by Ibrahim Khalil,
2. “Epistemological origins of Arar” by Ziyad al-Zaabi,
3. “The efforts of Arar, the great Jordanian poet, within the realm of Persian literature” by Bassam Ali Rababe’e,
4. “The influences of the Sage of Neyshabur upon Arar, the great poet of Jordan” by Bassam Ali Rababe’e,
5. “الُّلغَة وَ الأُسلُوب فی شِعرِ عَرار” published by Mahmoud al-Sammarah
The focus of these studies is different from the aim of this research. As a result, the present study is the first literary research on formalist criticism and defamiliarization with regard to the aforementioned poet.
4. Methodology
This study explores a number of approaches regarding defamiliarization based on the theories of formalism in an analytical-descriptive manner.
5. Discussion & Conclusion
Phonetic-lexical harmony, one of the most essential aspects of the addition of rules, is among the most influential factors resulting in increasing the musicality of Wahbi al-Tel’s poetry. Repetition of phonemes, words and especially sentences can be seen frequently in his works. Considering the concordance between “meter and content” and “meter and terms” in his poetry, one could observe that the poet has been clearly interested in modernism in meter and format. In his transgressions in rhymes, one may notice the application of quintets in his poetry which similarly is filled with cohesion and unity in subjects and odes. The introduction of quintets in his poetry, in fact, may be regarded as a type of transgression in rhymes. Given that defamiliarization is one of the partial approaches of distinguishing creating works of art, and the application of such an artistic technique is the reason why Arar’s poetry is so distinguished, it can be suggested that linguistic peculiarities and distinct modes of expression in his poetry, defamiliarization of grammar, sentence structure, and meaning can be investigated by focusing on his use of imagery, especially paradox and parody, simile, metaphor, signs, symbolism, and archaism in his poetry.
research article
fatemeh jamshidi
Abstract
Extended Abstract
1. Introduction
One common issue in literary criticism is the way spiritual concerns of a writer is reflected in his/her work. Since literary texts borrow their nature from human soul, they can be affected by the mental condition of their writers. This mutual relationship is a fact ...
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Extended Abstract
1. Introduction
One common issue in literary criticism is the way spiritual concerns of a writer is reflected in his/her work. Since literary texts borrow their nature from human soul, they can be affected by the mental condition of their writers. This mutual relationship is a fact of all periods and literary tradition of the whole world. This article intends to show the sense of inferiority in 'Antarah ibn Shaddad' character and how this feeling is reflected in all aspects of his character.
2. Theoretical Framework
Definition of the sense of inferiority
Inferiority is a phenomenon most of people are involved with. It has both negative and positive aspects. The origin should be sought in a failure that faces the desire to superiority (Mansoor, 1990, 13). In the first step, family environment plays a negative role (ibid, 17). This feeling takes formin the childhood. There are two sources for this feeling inside a person; one is organic and the other is neglect (Schulz, 1998, 139).
Knowing 'Antarah ibn Shaddad'
He was an Arab warrior, horse rider and poet, who was born in the "Najd" in the year 525 AD. His mother, Zibieh and an Ethiopian slave girl, grew him up. Since he was the son of a slave, he was also known as a slave (Fakhori, 1986, 204 and 205). Some believe that his father's name was Shaddad while others name him Amru Ibne Shaddad. It was only when Antarah supported "Bani Ays" tribe against the attack of their enemies that his father confessed that Antarah was his son (Esfahani, Bita, 239/8). Although, he defended the tribe in wars by his own courage, he was always contempted by his community (Badavi, 1988, 281).
3. Method
This is a descriptive-analytical research, which describes the life of Antarah ibn Shaddad together with the most important symptoms of inferiority collected from psychological resources. The symptoms of this feeling are demonstrated by using the collection of his own poems.
4. Conclusion
According to the findings, the analysis of the works and poems of previous poets is effective via new sciences, and this can help us gain a better understanding of old literature. By investigating the poems of Antarah and testing the feasibility of Adler's principles of psychology in his poems, it is determined that many inferiority signs are manifest in his character. Antarah's feeling of inferiority is reflected in characteristics such as pride, altruism, revenge, the desire to be seen etc. This feeling was the provoking force of Antarah's behaviors, and it was the same sense of superiority which was the driving force behind his major behaviors and distinguished his character from those of others. What was a final goal of war and love for other poets was an instrument for him to get to his own goals, including going to war and writing poems. From his perspective, love was a means for proving the positive sides of his character and for overcoming the sense of inferiority. Given the meaning of his poems, this feeling never turned to a sort of inferiority complex for him.
research article
sahebali akbari
Abstract
Extended Abstract
1. Introduction
The word number is defined as: «عددت الشئ إذا أحصیته والاسم العدد» و«عددت الشئ عداً حبسته وأحصیته». In Quran, we read: نعدّهم عداً. Therefore, the word "عدّ" means to count something and determine ...
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Extended Abstract
1. Introduction
The word number is defined as: «عددت الشئ إذا أحصیته والاسم العدد» و«عددت الشئ عداً حبسته وأحصیته». In Quran, we read: نعدّهم عداً. Therefore, the word "عدّ" means to count something and determine the amount of that thing. However, the term is used to determine the quantity and value of things and individuals. Number is used for identifying the quantity of something. Many say that number is an answer to quantity. One definition given for number is that number is equal to the sum of halves of two neighboring margins. This is such as اثنین (two) whose low margin is واحدone and whose upper margin is ثلاثه three, and their aggregate sum will be اربعه (four). Half of four is two. Margin here means the two sides of a number (the previous and next number) since the amount of decrease in the previous number is equal to the increase of the next one. Previous number is called minor margin and the next one is major margin. In simple terms, if previous and next numbers are aggregated and divided by two, the middle number will be the answer. Counting the number to determine values (including weight, area and space) has been an important issue for human beings since their birth. Since man is a social being, he is in need to have relationship with others to live. Such a relationship makes men to have exchange and trading with each other, and they needed umbers to count days and amounts. At the beginning and prior to the emergence of arithmetics, the values were ambiguous (such as a fistful or a palmful etc), and since there were not specific and fixed, men began to think of other criteria for fixed values, which later ended in discovery of numbers. As we know, famous words for numbers are twelve: one, two, three, four, five, six, seven, eight, nine, ten, hundred and thousand and the non-famous values of these numbers that are obtained in the following forms: dual value, addition, additional and composition. For example, two thousands is a dual value; three hundred is an addition; forty is a composition. As a matter of fact, here we do not aim at counting major numbers, but we look for words used for men, animals, things and values, yet famous words not signify numbers since famous words could be easily found in old and new grammar books.
2. Theoretical Framework
Some of these books were specifically written for numbers from which one could refer to the following:
1. Numbers in Arabic, written by Dr. Mustafa Alnahas, Maktab Alfalah Press, Kuwait
2. Numbers in Arabic, By Fouad Hassanein, the Journal of Literature at Cairo University.
3. Numbers in Arabic, By Ibrahim Al-Samarrai, the Sumer Journal in Baghdad
The mentioned references have discussed famous words. From among them, Numbers in Arabic, written by Dr. Mustafa Alnahas is the most complete with 295 pages. This book is a comprehensive study of major numbers, and it uses only four non-famous words. Due to the vastness of Arabic language and given the numerous tough efforts on the part of philologists, especially those that have done their best in developing terminological lexicons, the author of this article believes that it is possible to provide precise answers to the given questions by properly investigating information of men, animals and objects and also values such as area, space, weight and scale. After considerable search and investigation of old and new terminological books, the following results were obtained. These results are based on studying non-famous words signifying numbers in different books, lexicons and dictionaries.
3. Conclusion
Non-famous words that Arabs use for men, animals, objects, area, space, weight and scale are divided into four groups:
a) Units (single numbers)
b) Tens
c) Hundreds
d) Thousands
The study of numbers and their application by Arabs shows that they were more mindful of tens.
Investigations showed that there are some numbers that signify numbers after thousand including.
research article
faezeh arab yousefabadi
Abstract
Extended abstract
1. Introduction
Maghame is a kind of narrative which focuses on the poor and beggars’ wants and tricky literary men with an ornate prose. Also, Picaresque is a kind of episodic narrative which explains events happening for low class people of society or criminals, or the roguish ...
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Extended abstract
1. Introduction
Maghame is a kind of narrative which focuses on the poor and beggars’ wants and tricky literary men with an ornate prose. Also, Picaresque is a kind of episodic narrative which explains events happening for low class people of society or criminals, or the roguish central character fighting for survival of fittest permanantly. These involvements may take place at all social levels and typically present a humorous and wide-ranging satire of a given society.
2. Theoretical framework
The purpose of this article is to distinguish and discover common characteristics of Maghame and Picaresque which leads to prove that Picaresque is under influence of Maghame.
3. Methodology
Through descriptive and comparative method, the data is gathered and analyzed. Also, narratology is the most important method by which narrative elements in two genres were compared.
4. Results and Discussion
It can be concluded that both of them are episodic, that isthey are the narrations of independent events (episodic fiction which are rendered together due to the occurrence for one central person). Furthermore, it is illusterated that the plot which is on the basis of a journey has a significant role in the structure of Picaresque and Maghame. On the basis of narrative perspectives or focalized criteria, it is distinguished that narrator and focalisor are the same but focalization and narrativity are different in Maghame’s narrations. In this kind of narratin character, focalizor is the narrator who concepts all theevents consistent with his or her beliefs and perceptions related to his or her age, whereas narrator- focalizor retolds events which had seen, conceptualized and believed in the past. Besides, both genres are the first person narratives, and consequently there is a dichotomy and gap between “experiencing me” and “narrating I” in them leading to two levels: action level and narrative level. The difference between these two levels is called narrative distance; therefore, the process of narrativity is an important part of story in itself. It brings about an irony between the quality of events narrated and the way of hero’s narration in both genres. The analysis of Maghame’s protagonist shows that protagonist is a tricky man pretending misery, poverty and need who wanders in streets alone or accompanied by feeble and naked children. In order to get a little money, with an eloquent speech he attempts to make people take pity on him. Exactly in Picaresque stories, this feature is highlighted. Picaro is Spanish for “rouge”. The Picaresque’s hero is commonly a low-born, but a clever individual who wanders into and out of various affairs of love, danger, and farcical intrigue. Under the influence of life’s special circumstances, Picaro believes in epicurism (i.e. the enchantment of mortal pleasures of the world). Thus, the themes of immoral issues and various tricks play a key role in Picaro’s world and his stand in this universe.
As for the part ofthe story’s mode, it is concluded that Maghame’s protagonist criticizes hypocricy in society, which he himself is its victim. He exaggerates other’s sins to justify himself and suggests that although he is not better than others, he is not worse than them definitely. Hence, the satire and critical viewpoint is a main feature of Maghame stories. The emphasis on satire reflects on the historical and social context of Islamic countries in the 4th century Hejri, which equals to the 10th AD; the period during which slaves not caliphs ruled over the government. Moreover, there is satire in Picaresque. Not only Picaro itself is satirized by the author, but also he himself satirizes others. This point enables Picaro to observe his negative characteristics in the mirror of others obviously. Satire in Picaresque’s stories signifies the historical and social context of Spain in the16th century. During this period, people believed in the hierarchy system as an undeniable fact. Hapsborg kings’ goal was the development of a great emperor. In order to conquere on these wars, they had to select troops among the roguishs. It was one of the reasons for increasing disorder and riot so that troops behaved like Picaros; some behaviorswere distributed in Europe in the late16th century, including idleness, barbarization, gambling, forgery, and cheating. Hence, under the influence of satire in these two genres, the story of the world is illustrated worse than our real world. In addition, the use of poetic and figurative prose and word plays are seen in these genres.
5. Conclusion and Suggestions
Thus, it is concluded that Picaresque in Spain is the revised, modified and evolutionary genre of Arabic Maghame. In fact, after Spain, it is distributed in the other nations. This result can be inferred from the common characteristics of these two genres, including plots, narrative focalization, an unheroic protagonist, mode and a prose which is full of poetic dictions, scientific and literary terms and lingual plays.
research article
fatemeh ghaderi
Abstract
deviation is one of the most effective methods of prominence and abnormal in literature, poetry and prose; this lets to poets and writers to change the system of typical language and express their meanings and concepts in the new form and new expression and absorb.
Jabran Khalil Jabran expressed ...
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deviation is one of the most effective methods of prominence and abnormal in literature, poetry and prose; this lets to poets and writers to change the system of typical language and express their meanings and concepts in the new form and new expression and absorb.
Jabran Khalil Jabran expressed his implecations in a graceful form with music of arrangement words in different expression using variety of Imaginative and sentiment.
The following research has been studied the deviation in Al-Agnehat Al-Motekassere with the use of Descriptive – analytical; and with the help of text samples in three “morphologic levels”; “meaning” and “Non-linguistic deviation” have been investigated. In this research we have concluded that Jabran with the using Imaginative especially simile in word area with offering new compounds from text has been DE familiarized and applied this deviation in better expression of his emotions and his views against social abnormal situation and corrupt religious rulers.
research article
majid mohammadi bayazidi
Abstract
Extended Abstract
1. Introduction
After economic, diplomatic, and social developments of 20th century and world wars special 2nd one, existentialism was spread in the world. A lot of Arab literati trended to this philosophy after it entered contemporary Arabic literature. Suhayl Idris as one of the ...
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Extended Abstract
1. Introduction
After economic, diplomatic, and social developments of 20th century and world wars special 2nd one, existentialism was spread in the world. A lot of Arab literati trended to this philosophy after it entered contemporary Arabic literature. Suhayl Idris as one of the “most exciting and zealous Arab literati toward existentialism" (Safeen, 1987: 444) has tried to introduce the philosophy to Arab society. So this essay surveys the existentialism appearances in his most popular novel 'latin neighborhood' (al-Hayyo al-Latini).
2. Theoretical Framework
Philosophy of existentialism emphasizes on primacy of nature in humanity, and believes that it can realize his nature without any necessity and predetermined plan. But the absolute freedom doesn’t mean self-abandonment, and humanity can change his life and method. (Ebrahim, n.d: 219) So this philosophy cares about humanity choices, and also sees him responsible for himself and all people (Sartre, 1964: 17) as well as emphasizing on the commitment. It is resulted that philosophers of existentialism were emphasizing on some issues like man existence, freedom, authority, anxiety, felling guilty due to choose responsibility, relaxation, loneliness, wandering, and absurdity of life and death. (Verano and others, 1993: 324) It should be noted that absurdity in existentialism is really different of nihilism. Existentialism has pointed to man absurdity and wandering, and focused on the priority of nature on existence, but nihilism believes that "there is nothing in the world or there is nothing to be understood or there is nothing valuable". (Mahdavi Seighalani and Panjevand, 2010: 28) In other words, absurdity in nihilism is the starting and ending point, but in existentialism it is only the starting point. So existentialist person tries to pass that and gives his life an intended meaning.
3. Method
The method of this paper is descriptive analytics. First of all, it is referred to existentialism and its main principles. Then the appearances of existentialism in the novel were analyzed based on the absurdity issue and the loss of heroes.
4. Results and discussion
To prove the effectiveness of existentialism for Arab world, Suhayl Idris tries to choose some special principles of existentialism, and presents an optimistic image of existentialism in his novel. So there is no trace of some principles like denying God, rrelaxation, death, anxiety, and disappointment in his novel.
By creating conflict between man and woman heroes of his novel, he introduces using the existentialism principles as the only way of going out of loss feeling and absurdity by the man hero. While the woman hero has brought to the absurdity and loss land by getting away from those principles. The nameless man hero suffers an active absurdity that is started from the knowledge of absurdity and ended to the rebellion. (Mahdavi Seighalani and Panjevand, 2010: 32) By escaping from his society to the West, he tries to rebirth. So he leaves the past and rebels against the society values by using some symbolic moves like dropping Arabic turban in the sea, not hogging his Arabic friend in Europe, and rebelling against mother domination leaves the absurdity and changes to a existentialist man in the light of future, and uses the positive principles of existentialism like the freedom, authority, responsibility, and commitment. But woman hero "Janin" because of inability of leaving the past, disappointment, fear of future, lack of freedom felling, losing her independence in love, and trending to determinism changes to a nameless hero and joins to the existential group that believes in irresponsible freedom.
5. Conclusion
The novel of 'Latin Neighborhood' (al-Hayyo al-Latini) that is shaped based on the existentialism, has used the absurdity and loss of heroes to present an optimistic and effective image of this philosophy based on the conflict between man and woman heroes. Man awareness of his loss and absurdity reasons causes his rebellion against predetermined values by symbolic moves, and tries to get rid of that absurdity as a starting point. By institutionalizing some existentialism principles in his existence, he gets rid of the absurdity, and he will be born again. While the woman hero will be caught by absurdity because of getting away of existentialism principles. The absurdity is an ending point for her.
The existentialist novelist introduces the man trend to sexual promiscuity due to absolute freedom as the perplexity factor. He gets rid of this feeling after accepting responsible freedom. He shows existential group to emphasize on the responsible freedom that Janin joins this group because of her wrong understanding. To show the ascending process of the man and woman characters, the writer greatly uses back to the past technique and prospective technique.
research article
seyyed mahdi nouri
Abstract
Extended Abstract
1. Statement of the Problem
In the era prior to the contemporary Arabic literature, long, epic poems, which are considered to be the first sparks of epic poetry, were composed. One of these poems, or maybe the very first one of them, is the long, renowned ode of “Ozrie” composed ...
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Extended Abstract
1. Statement of the Problem
In the era prior to the contemporary Arabic literature, long, epic poems, which are considered to be the first sparks of epic poetry, were composed. One of these poems, or maybe the very first one of them, is the long, renowned ode of “Ozrie” composed by Sheikh Kazem al-Ozri. The poet owes his fame, to a large extent, to this poem. In terms of literary classification, the long ode of Ozrie is placed within the category of religious odes. In classic Persian literature, poems such as “Ali Nameh” written by a poet with the pen name of “Rabi”, “Khavaran Nameh” by “ ibn Hisam Khusfi” and “Heydari Attack” by Bazel Mashhadi are considered among this category of odes. One of the issues which merits investigation in religious and non-religious odes is to analyze the epic features of such works, for they are, owing to their nature, replete with descriptions of their heroes’ bravery and warrior spirit; therefore, the present study aims to analyze the epic features in the long ode of Ozrie.
2. Necessity and Objectives of the Research
As the ode of Ozrie has been named “the great Ode”, a title which refers to its epic content and its hero’s courage and valor, it is incumbent to identify whether this work, from a technical point of view, enjoys the features of an epic and whether, from the viewpoint of an epic, poetic style, it has been able to have the intended influence on its audience. It is incumbent to undertake a study to depict these features and their function in Ozrie. To this end, the present study aims to portray the epic features of the mentioned work and analyze them.
3. Methodology
This study, using a descriptive-analytical and at times comparative methodology, has tried to present major epic features of Ozrie and analyze such instances as lofty, epic terms; music; epic meter; opponent's development; and epic hyperbole.
3. Discussion and Conclusion
Taking a brief look at this ode, we can propound that it has numerous epic features and factors such as epic description of heroes, opponent’s development, stupendous and extraordinary events together with lyricism and concepts of wisdom have added to its literary and epic facets. Following, brief descriptions regarding each of the mentioned issues are presented as summation and conclusion
1. With regards to the descriptions of the battlefield, the author has solely concerned himself with the description of the protagonist, his valor and courage, and has paid little attention to issues like description of other heroes, description of the battleground, details of fights, warfare, and etc. This exiguity of descriptions is quite evident, not only in comparison with renowned world epics, but also with some contemporary Arab epics such as “Eid al-Ghadir” written by Boulos Salamah. Of course, one of the strengths of Ozrie in this context is the utilization of “opponent development” technique which the poet has handled gracefully in instances such as descriptions of Amr-ibn Abdud
2. Among the issues portrayed in renowned epics “stupendous and extraordinary” events can be named which happen at hero’s or heroes’ discretion. In Ozrie's epic, instances of such events are presented which have added to the epic atmosphere of the ode. Events such as the miraculous cure of Imam Ali’s eyes (PBUH) in the battle of Kheybar and pulling the gates of Kheybar stronghold off their hinges are some examples which Ozri has been able to depict beautifully and nicely in his epic.
3. In the epic poems of the world, such as Shahname, Iliyad, and etc. trances of love and lyricism are abound, bestowing a unique glory to the stories. In the Ode of Ozrie, there is no lyricism in either a narrative or dramatic form; however, its romantic preamble, which constitutes forty-seven couplets, can replace it.
4. Through studying and analyzing Ozrie, it becomes clear that the poet has been able to incorporate the literary device of hyperbole into his work, making it even more epic through utilization of hyperbolic images and descriptions
5. Advice, counsel, and concepts of wisdom are among the issues that are present in epics and poets such as Ferdowsi have paid attention to. This feature can also be seen in Ozrie’s ode; he has interpolated many wise sayings in his poems, befitting various occasions, and they have added to the appeal and richness of his work.
6. Concerning the rhythm and the metrical line used in Ozrie it can be said that the poet has made the most of the intensity and starkness of Bahr-Al khafif. In couplets that carry an epic load and concern the descriptions of the heroes, he has added to the attractiveness and the epic dimension of his poem through techniques such as using epic words and terms (like Samsam (sharp sword) and QimQam (stableman)), words with signs of emphasis (Shaddah), repetition of words, various types of pun, conformation, alliteration, and etc.
research article
Ali Asadi
Abstract
Extended Abstract
1. Introduction
Badi'Ozaman and Hariri Maqameh are among the very important literary prose genres, which first emerged during the Abbasid period. Such short stories serve different literary purposes and reflect different social, economic and cultural aspects of their time. For this ...
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Extended Abstract
1. Introduction
Badi'Ozaman and Hariri Maqameh are among the very important literary prose genres, which first emerged during the Abbasid period. Such short stories serve different literary purposes and reflect different social, economic and cultural aspects of their time. For this reason, some researchers have largely investigated it. The prose literary language of these works is comprehensible to the audience, and they are fascinated by it. Educational, cultural and new literary concepts are presented in the form of short stories known as Maqameh. Furthermore, Badi'ozaman and Hariri Maqameh are, in fact, the cornerstones of the brilliant art of writing which are considered as the map of the future authors. These authors owe their high reputation to artistic creation in Arabic literature, they created a new form through such an unprecedented creation in the field of literature. This study investigates the strengths and weaknesses of Badi'ozaman and Hariri Maqamehs following the hypothesis that any literary work has certain strengths and weaknesses and it is thus worth an analysis.
2. Theoretical Framework
This study investigates Maghamehs of Badi'ozaman and Hariri. To begin with, a definition offered by Maghameh is presented, and then it introduces the authors of these works and their details. Then, a comparative study of the strengths and shortcomings of the Maghamehs will be presented. Both idiomatic and literal definitions of Maghameh are given, and its pre-Islamic morphology is discussed rather than its more prevalent meaning. Another theoretical basis of this study is the expression of the aspects of artistic creation of Maghamehs, which shows that the first author of Maghamehs was Badi'ozaman Hamedani. His Maghamehs were narrated by Isa Ibn Hisham, an adventurous cunning businessman. The hero is known as Abu Eskandari.
Badi'ozaman's most prominent follower is Abol Ghasim Hariri, who has clearly noted that Badi'ozaman is a pioneer in this field. Maghamehs of Hariri are narrated by Harith bin Hisham, a traveler and scholar who was very punctilious and cautious. Its hero was called Abu Zayd Serug, who is a master in volubility and speaks like a magician, thus he always reaches his goals. The third research theoretical foundation could be investigated in the history of the formation of Maghameh and the principles of writing Maghameh. This section also elaborates on Maghameh after Hamadani and Hariri.
In general, Maghameh is premised on a combination of courtly and ordinary literature or, in other words, it is a combination committed by non-committed literature. It is derived from seriousness combined with comedy; an imagination that is derived from inspiration within itself, which testifies to the glorious skills of the author in the creative transfer of his goals to the audience. Maghameh has three basic elements: Narrator, hero and narrative discourse. The third element is a basis for assessing and discussing Maghameh, yet it has not received sufficient attention from scholars and researchers. In this article, 10 different views of scholars of this field will be explained.
The researcher impartially compares and contrasts the strengths and weaknesses of Maghamehs of Badi'ozaman and Hariri by seeking the truth and explaining 5 strengths and 4 weaknesses.
3. Research Method
This research was done using analytical methods to show its real nature and identity regardless of the different Maghameh narrative methods such as historical, literary, descriptive ones. Thus, it only focuses on the texts of famous Maghamehs with no bias and presents an acceptable form of the text of the Maghamehs.
4. Results and Discussion
According to what has been discussed about Maghameh, a wise reader will understand the notable presence of comparative analysis of the strengths and weaknesses of the Maghamehs. Previous research on Maghameh of Badi'ozaman and Hariri lack the comparative analysis of the Maghamehs or they suffer from missing accuracy, logical consistency and precision. However, this research explains the problems and strengths of the Maghamehs by adopting a mere analytical method. It attempts to explain the most important insights presented in this field. Maghameh of Badi'ozaman and Hariri have a variety of literary purposes such as praise, syllables, description, pride, rhapsody, etc. The prominent features of the research are the unique and innovative analyses of Maghameh. In addition, emotions and feelings play a major role in the creation of Maghamehs.
5. Conclusion and research implications
This research attempted to provide an impartial analysis of Maghameh texts, and thus it explained different political, ideological, ethnic, literary, social, educational and lexical aspects of these works. Scientific achievements of this research also include that Maghameh is a mirror reflecting the events of the past, and they are considered as a valuable social, political and literary document.
Moreover, Maghameh is a literary text in the form of a story containing loads of verbal array, syntactic elements, lexical secrets, poetic beauties and proverbs. It is embedded in a humorous narrative space and decorated with various multi-layered and overlapping information and useful teachings. In brief, Maghamehs reflects the truth within them and symbolizes a particular kind of literature.
research article
mohammad javad pourabed
Abstract
Extended Abstract
1. Introduction
The term “door” means a passageway which allows someone to pass through and enter a place or hinders a person from entering a place. Closing of a “door” or its opening denotes a set of feelings, emotions and reactions to reality. As a word, “door” is one ...
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Extended Abstract
1. Introduction
The term “door” means a passageway which allows someone to pass through and enter a place or hinders a person from entering a place. Closing of a “door” or its opening denotes a set of feelings, emotions and reactions to reality. As a word, “door” is one of the shared themes among contemporary poets, particularly realist ones. They have expanded the semantic field of this word, utilizing it in many various senses which are rooted in traditions and subconscious of Arab people. A large number of these senses are literal, with others being figurative and cryptic; for life has varied conditions and situations, some of which are completely tangible and real while others are implicit. Among the real and original functions of this term the following can be mentioned: It is a passage for passing through, protection and safety and a means for freedom or punishment.
contemporary poets, such as the Iraqi poet al-Sayyab, adhere to this point of view; al-Sayyab, who similar to his contemporaries lived a sorrowful, penurious, calamitous life and lived in a country which was brimming with misfortune and misery all over, has frequently used this word in various meanings, expanding its senses and using them to denote such concepts as hope, failure, anticipation, remorse, confusion, break down and etc.
This word has been used more than one hundred and fifty times in al-Sayyab's poems and is considered among the terms which he has used with high frequency. Such a high frequency of usage is a testament to its semantic evolution and its horizons of meaning, making it a versatile term capable of adhering to those horizons of meaning; drawing on the traditional backing of this word, he has utilized it in mystic and figurative senses, making it a means for transferring his emotions and experiences. However, the evolution of the word “door” in the poems of al-Sayyab are as follows: Fear and security, limitation and freedom, hope and despair, destruction and prosperity, protection and impediment, seclusion and communication
2. Theoretical Framework
Considering the literal and figurative senses of the word “door” in the Arabic heritage, the present study aims to follow the semantic evolution of this word in al-Sayyab's poems. This frequently used word in al-Sayyab's poetry is intertwined with the other words in context and the poet has deemed it appropriate for expressing emotions; therefore, drawing on the Arabic heritage, he has made his context serve the semantic evolution of this word, and has expanded its semantic field, just like other frequently used words. Another point in this regard is that al-Sayyab's views this word in a paradoxical way and the contrasting senses in which the poet has used this term in his poetry is a testament to his tumultuous, eventful life.
3. Research Methodology
The methodology used in this study is a descriptive-analytical one. First, the odes in which the word “door” has been used are extracted from the poet's oeuvre and afterward, through presentation of some examples, the semantic evolution of this word in the poems of al-Sayyab is discussed. Another point which has been considered in the analysis is the Context along with the style of the poems.
4. Conclusion
The poet has used the word “door” one hundred and fifty times. This high frequency of usage reveals that this word is not just a word, but a constellation of feelings, emotions, and reactions manifested in it and signify the paradoxical views of the poets pertaining the real world and his surroundings which are at times positive and at others negative: fear and security, freedom and captivity, hope and despair, prosperity and destruction, protection and impediment, seclusion and communication.
Following the evaluation of the word “door” and its semantic evolution in al-Sayyab's poetry it was found that:
1. The poet, owing to his sorrowful, destitute, miserable, calamitous, tumultuous life has used this word in a wide range, with various meanings. The context in which this word has been used has clothed this word in a figurative, cryptic sense, giving it varied connotations and expanding its semantic field, placing it in various domains, with some having a negative and others having a positive connotation.
2. Al-Sayyab's positive viewpoint concerning the word “door” hinges upon and is manifest in the following concepts: standing and anticipation, protection and safety, putting an end to deprivation, and finally prosperity and refuge.
3. Contrary to this positive view, al-Sayyab considers “door” in a negative way: The closure of the “door” in his opinion is synonymous with inability, deprivation, failure, impediment, despair, fear, together with lack of affection and freedom. Al-Sayyab, through this negative point of view, delivers images of an unsuccessful, failed life to his audience; a life from which freshness and rejuvenation is all but gone, in the poet's point of view.
