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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국아랍어아랍문학회 아랍어와 아랍문학 아랍어와 아랍문학 제20권 제1호
발행연도
2016.1
수록면
137 - 163 (27page)

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This research examines the confident and coherent vision of the old poet, opposed to the tragic and pessimistic vision of the modern poet. Such modern vision is the result of the violent spiritual, existential, social and political crises, which modern societies have experienced. Having disposed of the traditional topics that burdened old poetry, modern poetry was able to contain a larger domain of the world. Modern poetry has become a reflection of human affection, more committed to the modern time and more successful in portraying it. It had to borrow a lot of the artistic techniques of other literary arts like novel, drama and short stories. Moreover, it has surpassed the boundaries of literature to use the arts of motion picture, photography and drawing, benefiting from their vast potentials, and supplying the poem with more creativity. Old poetry looked at the world through the eye of an individual poet, who expresses his own ideas and feelings. Modern poets, on the other hand, have turned to drama, where they used theater techniques, like irony, dramatic masking and dramatic dialogue. Consequently, the modern poem was transformed from a lyric poem to a poem with multiple voices, which gave the poem a dramatic depth. In this study I state that the transformation of lyric poetry into dramatic poetry was inevitable, due to the fierce conflicts, which the world is going through in the modern era. The study also deals with the efforts exerted by Salah Abdel Sabour in converting poetry from lyrical to dramatic. Abdel Sabour was the most prominent Arab poet who worked on directing the Arabic poetry to drama. He was skilled in the use of dramatic techniques: dramatic masking, irony, dialogue and conflict, within the poem. Meanwhile, the efforts made by Ahmed Shawki , prior to Abdel Sabour, can never be denied . Shawki was a pioneer, though his use of traditional meter within his drama made his plays merely lyrical and lacking conflict, which is the essence of drama. Salah Abdel Sabour, on the other hand, considered drama to be inseparable from the structure of the poem, and not merely an ornament. Finally, the study stops at Ali Ahmad Said, "Adonis", who believes that the reasons for the absence of drama in Arab literature is that Arab societies are secure communities, as they consider themselves "believers". They have not experienced existential anxiety like pagan societies. Drama is associated with this concern and it cannot be successful in such a reassured society. Furthermore, Adonis believes that the transition of Arab society after Islam from desert life to "urbanization" does not mean that it has become a civil society. Adonis believes that nomadic life is a part of the Arabs thinking. The paper also discusses the poetic contribution of Adonis in the use of drama inside the poem; for example the mirror technique, the dramatic dialogue and the dramatic masks - historical masks in particular, such as Abdul Rahman Al-Dakhel and Al-Mutanabbi. He could also devise his own masks, such as "Mahyar of Damascus." The poems of Adonis were packed with dramatic conflict and polyphony. It can be said that after the contribution of Salah Abdel Sabour and Adonis, the Arabic poetry became a source of knowledge, as well as a source of pleasure.
#Salah Abdel Sabour #Rhyme #Drama #Tragedy #Dramatic Conflict #Modern Arabic Poetry #Lyric Poetry #The Modern Arab Poetry

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참고문헌 (49)

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إبراهي ، حا إ ) 1987 (: ديوان حا إ إبراهي ، عبط وتص يح : أحمد أمينوخلارون ، ا يئة المصرية العامة للا اب google schola أدونيس، علا أحمد سعيد) 1980 (. اتحة لن،ايا القرن، ط 1، دار العودة، ب و google schola أدونيس، علا أحمد سعيد) 1983 (. زمن الشعر، ط 3، دار العودة، ب و google schola إسَاعيل، عل الدين) 1967 (. الشعر العربي المعاصر، ط 1 ، دار الااتب العربي google schola إسَاعيل، عل الدين) د. .(. قضايا الإننان في الأدب المنرحي المعاصر، سلنلةالألا ير اب، القاهرة، دار الةار العربي google schola

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