Main Subjects : Old literature


The Absurdity of Recall (Nostalgia) and the Tendency towards Future Reading in Imru' al-Qais’s Nuniyya

nasrat salih oghaidi

College Of Basic Education Research Journal, 2021, Volume 17, Issue 1, Pages 307-322
DOI: 10.33899/berj.2021.167727

The majority of literary texts and their various genres are based upon the three units of tense (past, present and future). Despite the fact that there are many critical studies in this field, yet, there is still a room for interpretation since those literary texts, especially pre-Islamic ones, are loaded with various critical visions. As such, we chose to study Imru' al-Qais’s Nuniyya  addressing the very reasons for the poet’s vision of the absurdism of the mnemonic movements as well as nostalgia and at the same time his precipitancy towards future and its pleasures which indicates the poet’s pursue to neglect both past and present laying a tremendous interest to future and the pursue of its pleasures. This vision gushed out due to the poet’s consciousness of the inevitability of death, therefore surging towards future trying, as possible, to win as much of its pleasures.
 

الخطاب الإقناعی فی شعر الغزل عند ابن عبد ربه الأندلسی (ت328هـ)

ghaydaa ahmed alishlash; esraa jamal alhamdany

College Of Basic Education Research Journal, 2020, Volume 16, Issue 3, Pages 276-305
DOI: 10.33899/berj.2020.165716

Abstract
The persuasive speech is regarded as a part of Al-Hhijjaj . Al-Hijjaj is associated with persuation as the association of the text with its function . we found in Ibn Abd Rabba poetry many persuasive styles especially in flirtation poetry . the poet used many rhetorical styles which he uses to convince the addressees in his flirtation .
In this paper the terms persuation and flirtation have been defined linguishcally and as terminology the paper also showed the terms relevant to flirtation such as ( Al-Tashbeeb and Al-Naseeb ). It also clarified the types of addressees in Ibn Abid Rabba like Al-Mahbooba ( the beloved ) , these who blamed him his love ( Al-Uthaal ) , and companions . each of them has special methods in persuasive speech according to the poet desire .
And we came out that the most interest of Ibn Abed Rabuh was to persuade the beloved and humiliating her to gain her affection with various persuasive methods, and he did not mention mentioning the idol, the lords, and the companions except in a few of them, making use of different persuasive methods from the use of the selected words for his purpose, the various rhetorical arts, expressive images, and poetic

البولیفونیة أو تعدد الأصوات فی الموشحات الأندلسیة

bashar nadeem albajajy

College Of Basic Education Research Journal, 2020, Volume 16, Issue 3, Pages 306-332
DOI: 10.33899/berj.2020.165722

Mikhail Bakhtin is the first critic to speak of this term that was transferred from music, this term was initially applied to the novel, the Polyphonian novel is that novel in which there are many characters in dialogue, and many points of view, and the scope of use of the term has expanded to be applied On the poetic text as a literary discourse contains a narrative character, and one of the conditions to be provided in the Polyphonian poem is to be extended over a suitable textual space, and therefore the multiplicity of voices and their interplay is reflected in the narrative poem based on linguistic deviations and deviation from its criteria where The real and customary personality expands within the Polyphonian poem, and this is what we found in the Andalusian manuscripts has varied artistic forms in it, and the research noted that andalusian manuscripts extend over a wide textual area and consist of reading, roles, lock and exit, and this gives them a dramatic dimension, and this dimension Drama is the basis for the formation of any diversity and multiplicity of voices, and the researchers saw that the literary text, which contains a dramatic dimension qualifies it to enumerate the voices and monitor the research in many Andalusian manuscripts diversity of consciences

ملامح التجدید البنائی فی شعر ابن حمدیس

saleh ways Muhammad

College Of Basic Education Research Journal, 2020, Volume 16, Issue 3, Pages 396-439
DOI: 10.33899/berj.2020.165725

استوعبت البنیة الهیکلیة للقصیدة الأندلسیة إلى جانب النمط المحافظ القائم على تعدد الأغراض وتنوع الموضوعات أنماطاً بنائیة أُخرى مثلت ملمحاً تجدیدیاً، إذ تفاعلت البذور القدیمة للاتجاه التقلیدی مع تربة الحیاة الجدیدة، لتنتج غرساً یجسد طبیعة تلک البیئة وحیاة شعرائها، الذین وجدوا فی التزامهم بنمطیة البناء التعددی (البناء التقلیدی) قیداً یحول بینهم وبین إدراکهم لآنیة الموقف الذی یتطلبه نظم الشعر، بالإضافة إلى ما یفرضه هذا الالتزام من إسهاب یتحتم معه إطالة النفس الشعری، الذی تستوجبه تداعیات الإیفاء بالمضمون التعبیری لکل قطعة، وهو ما یؤدی بدوره إلى توافر أنماط من الوحدة، کالوحدة الفکریة (وحدة الموقف) والوحدة الشعوریة، وغیاب أنماط أخرى کالوحدة الموضوعیة على سبیل المثال لا حصر.
من هنا فقد غدت مرونة الشاعر فی تطویع الشکل البنائی لما یلائم سیاق القول ویعبر عنه مطلباً مهماً "لان کل تجربة تفرض قالباً معیناً وشکلاً محدداً، والأدیب الجید هو من یستطیع إفراغ ما یعتمل بداخله، وما یمور فی وجدانه من شحنات انفعالیة وتجارب إبداعیة – عاشها أو عایشها – فی هذا القالب دون سواه، وهذا الشکل عن غیره، استناداً على اختیار واعٍ ومقصدیة محکمة طولاً وقصراً، إطناباً وإیجازاً"( ).
ثم أن البحث عن أنماط بنائیة تحمل معها سمة الجدة، یأتی من إیمان الشاعر أن هذا الفن (الشعر) لا یتموضع ساکناً بل هو فن یتطلع ویتخطى ویتجاوز ما هو محدد له، فتتنوع التجارب لتتنوع معها طرائق المعالجة الفنیة.

تضافر المعنى بین النثری والشعری عند ابن خفاجة

Muthanna Abdallah Muhammad

College Of Basic Education Research Journal, 2020, Volume 16, Issue 3, Pages 351-374
DOI: 10.33899/berj.2020.165726

لا یزال یثار السؤال هنا وهناک عن الحدود التی تقف ما بین الشعری والنثری، وما هو (شعری) عما هو (نثری) فی کثیر من النتاجات الإبداعیة ولاسیما التی مازجت بینهما، وبناءً على ذلک اتخذت من هذا السؤال مدخلاً لقراءة النصوص التی قدمها ابن خفاجة الأندلسی التی جمع من خلالها بین النثری والشعری فی نص واحد، فهو بذلک أراد أن یثبت للمتلقی أن التجربة الإبداعیة تتخطى بذاتها حدود الأنواع الأدبیة، فضلاً عن الإشارة التأکیدیة الى تداخل الشعری والنثری فی عمل إبداعی واحد فی مجال التلقی، ومع هذا کله أجد أن ابن خفاجة شکل نقطة تحول فی ثراء النص الإبداعی الأندلسی والعربی على حد سواء.
کما أن الامتزاج النثری والشعری فی النص الأدبی الواحد، إما أن یمثل تنامیاً وتضافراً للمعنى أو یؤدی الى تلاشیه ، ولهذا قسمنا بحثنا على :
المستوى الإبداعی.
المستوى الإیقاعی.
المستوى الترکیبی.
المستوى الوظیفی.
دأب النقاد والعلماء على تقسیم الأدب على قسمین رئیسین متقابلین هما: الشعر والنثر، ومیزوا الشعر بالتزامهِ بالألوان والقوافی، والنثر بعدم التزامه بهذا، وعلى الرغم من استقرار هذا التقسیم، ظل موضوع الثنائیات من الموضوعات التی شغلت بال کثیر من النقاد.

Ibn Zaidoun Al-Mutanabbi's opposition read in Nonya

Eman sheel Salim سهیل Alrawi

College Of Basic Education Research Journal, 2020, Volume 16, Issue 3, Pages 333-350
DOI: 10.33899/berj.2020.165728

It is recognized that oppositions are partial simulations of a later text of a previous text, as they are an intentional act that underlies this intentionality for several reasons.
In this approach, we tried to present two readings of Nuniyat al-Mutanabbi and Nuniyya Ibn Zaydoon, as we find the features of the opposition clear between the two texts.
The research plan was based on a precursor in which we talked about the term opposition and its motives, revealing at the same time that the opposition is a conscious intertextuality. As for the procedural field, we have presented a reading of the similarities between the two texts, as follows
Time as we talked about the effect of time and its process on poets
  The ego presented a definition of the term ana and the extent and image of the presence of hope in the two texts
  The other We talked about the attitude of the two poets towards the other and its forms, and why the situation was shaped by each of them