scholarly journals مشهد الوداع في الشعر العربي الحديث ما بين الْأَصالة والتجديد/ Farewell Scene in modern Arabic Poetry: Originality of Innovation?

2019 ◽  
Vol 10 (1) ◽  
pp. 190-211
Author(s):  
Muhammad Musa Al-Balulah Azzain
Keyword(s):  
Arabic Literature ◽  
Arabic Poetry ◽  
Home Town ◽  
Ancient Times ◽  
The Subject ◽  
Set Up ◽  
Human Side ◽  
The Moment ◽  
Modern Arabic ◽  
Modern Perspective

ملخص البحث:  تهدف الدراسة إلى إبراز هذا الجانب الإنساني، والتأسيس له ليصبح معنىً شعرياً يُـضَاف إلى أبواب الشعر ومعانيه، فضلاً عن إعادة الرؤية إلى معاني الشعر من منظور معاصر لا ينفصل عن سياقه التقليدي. أما خطة هذه الدراسة فجاءت في مقدمة وثلاثة مباحث وخاتمة، اتَّبعنا فيها المنهج الوصفي التحليلي، ولما كان الموضوع أكثر ارتباطاً بالجانب الذاتي، استخدمنا التحليل النفسي بالقدر الذي يتحمله النص؛ حتى لا تخرج الدراسة عن إطارها الأدبي. وفي الخاتمة تناولنا خطة البحث تناولاً مبسطاً، وذكرنا أبرز النتائج التي توصل إليها وهي: إن مشهد الوداع قد تطور وفقاً للتطورات التي عاشها الإنسان العربي في كل عصر، وإن لمشهد الوداع في الشعر العربي صورة نفسية شديدة الأثر وعميقة الإحساس، يسودها الحزن والقلق والخوف والارتباك والتشاؤم، وإن مشهد وداع الشاعر لموطنه وأهله ومَن يحب، يؤكد قوة ارتباطه الوجداني بالمكان الذي نشأ فيه والمجتمع الذي عاش وترعرع فيه وسط أهله وأقرانه وأصحابه، وإن مشهد الوداع في العصور الأولى يأتي في أغلب القصائد الشعرية عرضاً ومندساً في أغراض الشعر المتعارف عليها وفي أبيات قليلة، ونادراً ما يأتي قصيدة كاملة، يحمل عنوانها اسم الوداع أو معناه، وفي العصر الحديث تكثر قصائد مشهد الكلمات المفتاحية: مشهد-الوداع-الشعر-الحديث-الأصالة-التجديد.   Abstract The study aims to point out this human side and establish its poetic meaning that would be added to the topics of the Arabic poetry and its meanings. This is in addition to reviewing the meanings of the Arabic poetry from a modern perspective that is within its traditional context. The study consists of an introduction, three chapters, and a conclusion. The researcher uses a descriptive analytical approach. Whereas the subject of the study is more closely related to the personal side, the researcher uses the psychoanalysis method in as much as it is compatible with the text so that it does not go beyond the intended literary framework. In the conclusion, the researcher dealt with the research plan in a simple way, and he highlighted the findings as follows: The farewell scene has evolved according to the developments experienced by the Arab in every epoch; the farewell scene has a psychological image that has a severe impression on both parties found in sadness, anxiety, fear, confusion, and pessimism at the moment of the farewell; the poet's home, town or village farewell statement confirms the strong sentimental attachment and nostalgia to the place where he grew up among his peers, relatives and friends. It has a spiritual bond and precious memory that will inflict suffering when parting with them; despite the inevitability and necessity of separation in the same time but with supplication and hopefulness, there was hope to return and pledge to keep cordiality, brings about the love of life and longing for it’s reasons in both parties; the farewell scene in ancient times comes inessential and hidden in the well-known poetry purposes and in few verses, but in the sequential states' epoch (an era of degradation), and the Renaissance comes independent as a complete poem entitled (the farewell); the farewell poetry in all epochs has formed a phenomenon that aroused attention. This needs a critical vision that can set up for this human purpose and adds a new meaning to this already established genre in the Arabic literature. Keywords: Scenery – Farewell – Poetry – Modernity – Originality – Renewal   Abstrak Kajian ini adalah bertujuan untuk menyerlahkan aspek kemanusiaan ini dan merumuskan maksud puisi yang dapat ditambahkan lagi kepada maksud puisi Arab. Ini disamping melihat kembali maksud puisi Arab itu sendiri daripada perspektif moden namun dalam rangka tradisionalnya. Kajian ini mengandungi pendahuluan, tiga bahagian dan satu kesimpulan. Pengkaji menggunakan pendekatan deskriptif dan analitik. Memandangkan topik kajian adalah lebih dekat kepada aspek peribadi, pengkaji menggunakan metod psikoanalisis selagi mana ia sesuai dengan teks untuk ia tidak menjangkau kerangka kesusasteraannya. Kesimpulan kajian adalah seperti berikut: babak mengucap selamat tinggal telah berubah mengikut perkembangan yagn dialami oleh bangsa Arab pada setiap era; babak ini mempunyai gambaran psikologi yang mempunyai kesan mendalam kepada kedua-dua pihak yang mencetuskan kesedihan, kebimbangan, ketakutan, kekeliruan dan buruk sangka pada waktu perpisahan itu berlaku. Tempat asal penyair, pekan atau kempungnya yang termaktud dalam pernyataan perpisahan itu mengesahkan lagi kuatnya pautan sentimental serta nostalgia kepada tempat beliau membesar bersama sanak saudara dan rakan-rakannya. Ia mempunyai hubungan rohani dan memori yang berharga yang akan mencetuskan penderitaan apabila berpisah dengannya; walaupun kepastian dan keperluan perpisahan itu namun dengan harapan serta doa, masih ada lagi sekelumit harapan untuk kembali dan janji untuk memelihara hubungan karib, ini membawa kepada lahirnya cinta dan harapan untuk meneruskan kehidupan oleh kedua-dua pihak; babak selamat tinggal pada waktu silam tersirat dalam tema puisi yang mempunyai tujuan lain yagn pelbagai namun sewaktu era kejatuhan dan kebangkitan tema ini menjadi tersendiri dan membentuk tajuknya yang tersendiri. Puisi selamat tinggal dalam semua era telah mencetuskan fenomena yang menarik perhatian. Ini memerlukan satu kupasan yang kritikal yang dapat memudahkan aspek kemanusiaan ini dan menambah satu maksud baharu dalam kesusasteraan Arab. Kata kunci: Babak – Selamat tinggal – Puisi – Kemodenan – Keaslian – Pembaharuan.

scholarly journals Literature and Revolution

2011 ◽  
Vol 43 (3) ◽  
pp. 385-386 ◽  
Author(s):  
Samah Selim
Keyword(s):  
Cultural History ◽  
The United States ◽  
Tidal Wave ◽  
Arabic Literature ◽  
Class Discussion ◽  
Dead Weight ◽  
Revolutionary Politics ◽  
History Of ◽  
The Subject ◽  
Modern Arabic

The three-week uprising in Egypt that ended with the removal of Husni Mubarak on February 11 happened to coincide with the section of my spring course syllabus on the Egyptian novel from Najib Mahfuz to Ahmed Alaidy. As was the case for many of my colleagues and their students, the rapid and awe-inspiring events unfolding daily before us pushed purely academic concerns to the margins of class discussion. This tidal wave of revolutionary politics erupting into the classroom forced me to the realization that my larger syllabus was not simply some neutral or systematic survey of half a century's worth of Arabic literature. I began to think about the largely invisible dystopic intellectual and historical paradigms through which modern Arabic literature is often framed, at least in the United States. The nahḍa/naksa narrative, which compelled many of us to read Arab cultural history of the 20th century as a story of brief “awakening” followed by irredeemable decline and corruption, is clearly no longer tenable in the wake of February 11. This same narrative underpinned the highly self-conscious postmodernism that began to emerge in Egypt in the 1990s and that reached its apogee a couple of decades later at the end of the 2000s, a postmodernism that was celebrated (though by no means universally) as the true beginning of literary modernity and the emancipation of the subject from the dead weight of a past ideological age.

Ma'rūf ar-Ruṣāfi, 1875–1945

1950 ◽  
Vol 13 (3) ◽  
pp. 616-626
Author(s):  
S. A. Khulusi
Keyword(s):  
Arabic Literature ◽  
Illegitimate Child ◽  
The Family ◽  
The Subject ◽  
Modern Arabic ◽  
Answering Questions ◽  
Dark Room

In the year 1292/1875 there was born to a mixed Kurdish-Arab family a child who was destined to play a prominent part in modern Arabic literature. He was named Ma'rūf and was the second of two children in the family.No one can say with certainty who was Ma‘rūf’s father because he himself rarely spoke about his family. So far as I am aware, there is not a single reference to his father in his Dīwān. Ma‘rūf’s unwise reticence concerning his family helped his opponents to allege that he was an illegitimate child. The late Tāha ar-Rāwī, the Iraqi philologist, who associated with Ma'rūf for over a quarter of a century, asserted that he avoided answering questions concerning his parentage and, if pressed hard, he would answer briefly and change the subject. The investigations of genealogists led them to the conclusion that his father belonged to the Kurdish tribe of al-Jabbārah, which was acknowledged by all the Kurds as being of ‘Alid origin. If so, then it must have been originally an Arab tribe which migrated to non-Arab districts. His mother is said to have belonged to the tribe of al-Qarāgfūl, a branch of ammar which dwells in the plain regions of Iraq.Rusāfī was brought up in his grandfather's house in the quarter of al-Qarāgūl in Baghdad. A small dark room was allotted to him, which made him inclined to solitude and meditation. In his childhood he was not seen to mix with other children. But his fondness for mechanical instruments led to an accident in which he lost one of his fingers.

Blank Verse (Al-Shi'R Al-Mursal) In Modern Arabic Literature

1966 ◽  
Vol 29 (3) ◽  
pp. 483-505
Author(s):  
S. Moreh
Keyword(s):  
Arabic Literature ◽  
Arabic Poetry ◽  
Definition Of ◽  
Modern Arabic

The accepted definition of poetry among most of the classical Arab prosodists is al-kalām al-mawzūn al-muqaffā ‘speech in metre and rhyme’. Unrhymedverse was thus excluded. The simplest rhyme in Arabic verse is generally, a consonant (rawiyy)between two vowels. The only exception to this rule is the rhyme of al-qaṣīda al-maqṣūra, i.e. in a poem which rhymes with alif maqṣūra, where the consonantis not important. It is obvious from the different statements of some of the critics and philosopherswho were interested in the Greek sciences, that the Arabs were aware that the Greeks had blank verse. However, they were all firm in their conviction that rhyme in Arabic poetry is as essential as metre. Fārābī (873–950) in his Kitāb al-shi'r, observed that Homer used blank verse: wa-yabīn min fi'l Awmīrūsh shā'ir al-Yūnāniyyīn annahu lā yaḥlafiẓ bi-tasāvn al-nihāyāt, while the Arabs pay more attention to rhyme than do other nations: Inna li 'I-'Arabmin al-'ināya bi-nihāyāt al-abyāt allatī fi 'l-shi'r ahihar mimmā li-kathīr minal-umam allatī 'arafnā ash'ārahā.

scholarly journals Using Price Gaps for Hedging Prices and Making Financial Decisions

2020 ◽  
Vol 83 ◽  
pp. 01001
Author(s):  
Peter Badura
Keyword(s):  
Futures Market ◽  
Underlying Asset ◽  
Financial Situation ◽  
Financial Decisions ◽  
New Period ◽  
The Subject ◽  
Low Probability ◽  
Set Up ◽  
The Moment ◽  
Stop Loss

Price gaps in assets pricing are relatively rare. Gaps arise at the moment when the open price of a new period opens significantly lower or higher than the close price of the previous period. The aim of this paper is to find out how often gaps are created in the prices of a selected underlying asset and how they can be used for improving the corporate financial situation. The object of our examination was a soybeans oil commodity traded on the e-CBOT futures market while the subject of the research were the price gaps themselves, the frequency of their occurrence and the likelihood of their closing. Data were analyzed over a period of 30 years. The fact that it is more likely than unlikely that the price will return and close the gap has been confirmed. The larger the price gap was, the longer it was necessary to wait for it to close. However, as for trading, it was also possible to take advantage of the low probability that the price gap would be closed - to set up a suitable stop loss order.

scholarly journals MODERN SAUDI POETRY: MOHAMMAD HASAN AWWAD’S NIGHT AND ME, IN BALANCE

2020 ◽  
Vol 2 (5) ◽  
pp. 130-143
Author(s):  
YAHYA SALEH HASAN DAHAMI
Keyword(s):  
Saudi Arabia ◽  
Positive Measure ◽  
Arabic Literature ◽  
Free Verse ◽  
Kingdom Of Saudi Arabia ◽  
Central Section ◽  
Arabic Poetry ◽  
Literary Movement ◽  
Modern Age ◽  
Modern Arabic

Arabic poetry is the heart of all types of literature in all Arabic realms. Consistent with this generalization, it can be right that the development of poetry in the modern age, among Arabs, is a positive measure. At that argument, the same would be focused on modern Saudi literature since it is typically considered a central, authoritative, and undivided part of Arabic poetry. In this paper, the researcher has attempted to illustrate some literary aspects of modern Arabic poetry in the Kingdom of Saudi Arabia as an instance of the greatness of Arabic poetry with a particular reference to a contemporary Saudi poet. The study starts with an introduction to the condition of poetry in Arabia. In the first section of the study, the researcher points up the importance of Arabic poetry as an Arabic literature genre. The second section deals with poetry and literary movement in Saudi Arabia as the central section of the investigation. After that, the task moves ahead to deal with a model of the modern Arabic poetry in the kingdom, Mohammad Hasan Awwad, a modernized rebellious poet with stark poetry, then the researcher, analytically and critically, sheds light on some selected verses of one of the poems of Awwad, Night and Me. The study finishes with a discussion and a brief conclusion. Keywords: Arabic literature, Arabic poetry, free verse, greatness, Kingdom of Saudi Arabia, modernism.

The Cosmopolitan Alexandrian

2015 ◽  
Author(s):  
Robin Ostle
Keyword(s):  
Social Life ◽  
Early Life ◽  
Arabic Literature ◽  
Romantic Period ◽  
Arabic Poetry ◽  
Modern Arabic ◽  
The City ◽  
Independent University

This chapter describes Alexandria and Mustafa Badawi's early life in the city. Badawi was born in Alexandria in 1925 and spent most of the first half of his life there. He was one of the first cohort of students in the new University of Alexandria (then known as Faruq I University), which became an independent university in 1942. After providing a background on Alexandria, the chapter considers some of the authors who contributed to the rise of modern Arabic literature, including Adib Ishaq, Georges Zananiri, Michel de Zogheb, and Constantine Cavafy. It then turns to one of the most influential Alexandrian personalities on the young Badawi, Ahmad Zaki Abu Shadi, best known for his contribution to Arabic poetry in the Romantic period. It also looks at two Alexandrian painters, Mahmud Saʻid and Muhammad Nagi, whose works depict social life in the city between the two world wars.

Free verse (al-shi'r al-ḥurr) in modern Arabic literature: Abū Shādī and his school, 1926–46

1968 ◽  
Vol 31 (1) ◽  
pp. 28-51
Author(s):  
S. Moreh
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Arabic Literature ◽  
Free Verse ◽  
Western Literature ◽  
Arabic Poetry ◽  
History Of ◽  
Modern Arabic ◽  
Official Recognition

The beginning of the twentieth century marked a new and revolutionary stage in the history of Arabic poetry. Through the increasing influence of Western literature, some new genres which show only preliminary signs of emergence in the nineteenth century found official recognition, as in the case of the strophic verse, or experimenting with them was resumed, as in the case of the blank verse (shi'r mursal), which was first practisd by Rizq Allāh Ḥassūn in 1869 and which was revived in 1905, probably unconsciously, by Jamīl Ṣidqī al-Zahāwī (1863–1936), under the name of shi'r mursal.

Sargon Boulus and Tu Fu’s Ghost(s)

2017 ◽  
Vol 2 (3) ◽  
pp. 297-319
Author(s):  
Sinan Antoon
Keyword(s):  
World Literature ◽  
Arabic Literature ◽  
Arabic Poetry ◽  
Modern Arabic ◽  
The Way ◽  
Ethics And Politics

Sargon Boulus (1944–2007) is widely acclaimed as one of the pioneers of modern Arabic poetry. The trajectories of his life and work make him an appealing subject through which one may explore the dialogues his work initiated, and the horizons that it opened, between Arabic literature and world poetry. His work and the way it has been largely ignored or (mis)read can even highlight some of the problematics and limitations of the category of “world” literature and its institutional networks and asymmetries. The recent publication of his anthology of selected translations from world literature and collected interviews is an opportunity to study his work as a translator more seriously. This essay takes stock of his contributions and traces his curious affinity with the Chinese poet Tu Fu (712–770). It concludes by reading two of his late poems and links them to his own ethics and politics of translation and writing.

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