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التدبیج فی شعر حیدر محمود | ||
| مجلة اللغة العربیة وآدابها | ||
| مقاله 4، دوره 16، شماره 3، دی 2020، صفحه 413-437 اصل مقاله (1.08 M) | ||
| نوع مقاله: پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jal-lq.2020.288245.961 | ||
| نویسندگان | ||
| علی قهرمانی* 1؛ رمضان رضائی2 | ||
| 1أستاذ مشارک، قسم اللغة العربیة وآدابها بجامعة الشهید مدنی بأذربیجان، تبریز، إیران | ||
| 2استاذ مساعد، قسم اللغة العربیة و آدابها بآکادیمیة العلوم الانسانیة و الدراسات الثقافیة، طهران، ایران | ||
| چکیده | ||
| یعتبر التدبیج من ألوان البدیعیة وله أهمیة خاصة فی بنیة الشعریة کأدات أساسیة فی الکشف عن محاور الجمال الفنی فاللون یلعب دوراً أساسیاً فی هذا الفن البدیعی. وللألوان دور بارز فی تکوین الصور الشعریة عند الشعراء القدماء والمعاصرین. إذا ما تطرقنا لدلالات الألوان فی العربیة علینا أن نذکر أنها عمیقة الجذور، وتواکب الحیاة العربیة بکل ما تحمله من تراث وطقوس. وفی هذا البحث ألقینا الضوء على ما وصل إلینا من شعر حیدر محمود حیث ضمّن شواهد لونیة کثیرة. وإن النتائج تحکی کثرة دلالات الألوان فی شعر حیدر وتنوعها؛ لهذا نجد الإشارة إلى أن الألوان فی شعره لیست أحادیة الدلالة وإنما کان اللون الواحد یعطی مدلولات متنوعة حسب وروده فی السیاق وأن الإنتاج الدلالی الرئیسة فی تجربة حیدر خمسة ألوان: الأسود، والأحمر، والأخضر، والأبیض، والأسمر. اعتمد هذا البحث على المنهج الاستنطاقی الفنی ساعیاً لإجابة عن هذا السؤال: ما هو دور ظاهرة التدبیج فی شعر حیدر محمود؟ | ||
| کلیدواژه‌ها | ||
| الشعر العربی المعاصر؛ التدبیج؛ اللون؛ حیدر محمود | ||
| عنوان مقاله [English] | ||
| Shuffle in the poetry of Haider Mahmoud | ||
| نویسندگان [English] | ||
| Ali Ghahramani1؛ Ramadan Rezaei2 | ||
| 1Associate Professor, Department of Arabic,Azerbaijan Shahid Madani University , Tabriz, Iran | ||
| 2Assistant Professor, Department of Arabic Language and Literature, Academy of Humanities and Cultural Studies, Tehran, Iran | ||
| چکیده [English] | ||
| The colors and colors of things are the sensory manifestations that cause tension in the nerves and the movement of emotions. They are sensual stimuli whose effect varies in people. But it is known that the poet – as a child – loves these colors and shapes, and loves to play them, but it is not just play, but a game that requires the need to discover the image first, and then stimulate the reader or the receiver. Hair then grows and grows in the arms of colors, whether seen or imagined in mind. It is for the reader a way to evoke these shapes and colors in a special format and in a certain indication. If we refer to the signs of color in Arabic, we recall that it is deeply rooted, and keep abreast of Arab life with all its heritage and rituals. This is an art expressed by the ancient artists and the importance of research in enriching the library rhetorical, deepening the study of this primitive art, and shed light on what reached in the poetry of Mahmoud Mahmoud. The results show that the main semantic production in Haider's experiment was five colors: black, red, green, white, and Asmar. This research was based on the descriptive analysis method, in order to answer this question: What is the role of the stigmatization phenomenon in Haydar Mahmoud's poetry? | ||
| کلیدواژه‌ها [English] | ||
| Arabic poetry, Pitching, Color, Haidar Mahmoud | ||
| مراجع | ||
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القرآن الکریم
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