أسلوبية قصيدة "عذاب الحلاج" لعبدالوهاب البياتي وفقا للنظرية البنيوية النقدية (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
الأسلوب منهج یرکّز على العناصر الأساسیه والداخلیه للعمل الفنی، للکشف عن معاییر الاختراع والابتکار فیه. إنّ مناقشه أسلوب العمل الأدبی وسیله لفهم الآراء والنظره العالمیه والثراء الفنی للعمل الأدبی؛ إذ إنّها توضح کیفیه تفاعل المؤلف مع الإمکانات والکفاءه اللغویه التی تظهر فی المستویات المختلفه للغه. یمکن القول بأنّ الأسلوبیه هی إحدى الأسالیب الجدیده التی دخلت مجال الأدب لتحلیل النص، بحیث یمکن من خلالها الوصول إلى أحسن الفهم للنصوص الأدبیه. تحتوی قصیده عذاب الحلاج لعبد الوهاب البیاتی على سته أجزاء داخلیه تشکل بنیه ذات معنى فی اتصال عضوی، لیتمکن الشاعر من استحضار شخصیه صوفیه کحلاج حتی یشرح تجربته الواعیه لمجتمعه المعاصر. ولذلک تصبح قصیده عذاب الحلاج بنیه ذات معنى تعکس ظروف المجتمع. وفی السیاق ذاته، وبالنظر إلى السمات الأسلوبیه المحدده للقصیده، یهدف هذا المقال إلى التحقیق فی شتی مستویات القصیده، منها الفکریه، والصوتیه، والنحویه، والبلاغیه، من خلال الاعتماد على المنهج الوصفی التحلیلی القائم على التفسیر والتحلیل. تشیر نتائج هذا البحث إلى أنّ قصیده عذاب الحلاج تتکون من سته أقسام داخلیه محزنه، تشکل بنیه ذات معنى فی ارتباط عضوی، بحیث یتمکن الشاعر من استدعاء شخصیه صوفیه بهدف شرح تجربته الواعیه وتقدیم الاستجابه المناسبه لتصرفات مجتمعه المعاصر. وبهذا، تصبح القصیده بنیه ذات معنى داله على أحوال المجتمع. لقد أبدع البیاتی فی هذه القصیده الواقعیه الصوفیه، وترک أسلوباً خاصاً قد تجلّی فی عدّه مستویات: لغویه، وأدبیه، وفکریه. فإن انسجام المستوى اللغوی والأدبی لهذه القصیده مع نظیرتها الفکریه هو من أهم السمات الأسلوبیه لهذه القصیده.Stylistics of the Poem ‘The Torment of Al-Hallaj" by Abdul Wahab Al-Bayati Based on the Critical Structural Theory
The history of the style goes back to the Greeks and Rome. The term style was included in the science of rhetoric and gained the attention of both Aristotle and Plato, as Plato defines it by saying: “Style is similar to a personal trait”. Through the definition that Plato provided for the term style, we notice that style for him is a special characteristic of every human being, as every person has his own style of employing or composing speech however he wants. Style is an acquired characteristic, but it is divided into different degrees. Stylistics in its true sense did not exist in past eras. In the twentieth century, this knowledge, like other literary techniques, was influenced by structural linguistics and acquired a new color and form. Structuralism is a critical approach that relies on reading the text based on strict principles and foundations, because this approach sees in the text a structure with its own rules that organize the distinct elements into a single unit, and its importance is independent of the outside world because concepts and ideas are extracted through reading the text. The structural approach to analyzing literary texts depends on multiple levels, which can be divided into the following headings: Phonetic level : This level depends on the study of letters, their formation, symbols, and their music, such as tone and rhythm. Grammatical level : This stylistic level often deals with the study of words and their organization, the structure of sentences, their composition, and their semantic and aesthetic properties. Morphological level : The purpose of this level is to study words, their verbal structure, and their function in language formation. Semantic level : The purpose of this level is often to analyze direct and indirect meanings and their associated images outside the boundaries of language. Symbolic leve l: This level studies the symbolism of the word and infers and synthesizes the role played by the previous levels in the new meaning and produces new literary meanings. There are many poets in contemporary Arabic poetry who created a new style in their poetry under the influence of Western schools, especially Structuralism. Among these creative poets with a special style is Al-Bayati, who was one of the pioneers of free poetry and used the niqab technique. This Iraqi poet created poetry in form and content, and his style was distinguished by the use of a mask and a tendency towards Sufism. He may have chosen Sufism as a mechanism to escape from bitter reality. Al-Bayati loved life, the land, spring, and children, and hated death and destruction. His poetry had characteristics such as easy and fresh words, sweet expressions, sincere emotion, and pleasant music, clearly in contrast to the poetry of Adonis. In the present study, the following three research questions are answered by analyzing the poem ‘The Torment of Al-Hallaj’ according to the theory of critical structuralism: 1- What are the most important stylistic features of this poem according to critical structural theory? 2- What are the most important stylistic elements used in this poem according to critical structural theory? 3- Does the poet have special stylistic features in this poem? The hypotheses on which these questions were based are: Among the most important stylistic phenomena of this poem, we can identify the rhythmic structure, morphological structures, syntactic structures, and lexical structure. Each of these structures has specific subgroups. There are many elements that make this poem distinctive in terms of style, including repetition, symbols, intertextuality with myths, religious and historical texts, invocation and mask, inflection, dramatic techniques, and so on. There is a deep thought behind the simple words that sent the poem to the hidden worlds of the human soul where we can hear the cry of a man who understands the eternal suffering of man. Abdul Wahab Al-Bayati is considered one of the creative Arab poets, who was able to tranform life into the dialogue and multiplicity of voices in his poems by evoking the Sufi character in his poems while creating unity between him and the created essence. Al-Bayati brings to life different voices in the text using the mask technique and techniques such as two-way speech and rhetorical statements (interrogative, imperative, exclamation, etc.).