السيّد محمّد علي العدناني وقصيدتة الدالية في رثاء الإمام الحسين (ع) دراسة أسلوبية (المستوی الصوتي أنموذجاً) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تهتمّ الأسلوبیه بالمستوی الصوتی ودوره فی انتاج المعنی اهتماماً کبیراً وذلک لما لقیه علم الأصوات من مکانه مرموقه فی ضوء علم اللغه الحدیث. السیّد محمّد علی العدنانی من أبرز الشعراء فی محافظه خوزستان فی ایران. یقوم هذا البحث عبر المنهج الوصفی-التحلیلی بدراسه البنیه الموسیقیه بمستواها الخارجی والداخلی. تشیر نتائج البحث أنَّ الشاعر فی الإیقاع الخارجی یرغب إلى استخدام البحر الخفیف الأکثر مقاطع والأوسع مساحه. وأمّا بالنسبه إلی إیقاع الموسیقه الجانبیه، فالقافیه مطلقه لأنّ الروی المطلق یتّسق مع الطبیعه الإنشادیه للشعر ویتجاوب مع رغبه الشاعر فی إیصال صوته إلی المتلقی بصوره جلیه. وأمّا فی الإیقاع الداخلی تناول البحث الأصوات المجهوره والمهموسه والتکرار والتجنیس وردّ الصدر علی العجز والطباق ومراعاه النظیر والإرصاد. وأمّا بالنسبه إلی حرف الروی، فلقد شکلت الأصوات المجهوره حضوراً مسیطراً فی روی القصیده. أمّا فی التکرار فقد تبین أنَّ الشاعر اتخذه مفتاحاً أساسیاً للولوج إلی عالم النّصّ الداخلی. وأمّا بالنسبه إلی استقراء التجنیس فوجدنا لجناس غیر التام والجناس الإشتقاقی حضوراً مکثفاً. وأمّا بالنسبه إلی الطباق استطاع الشاعر من خلاله أن یهب خطابه الشعری ثراء علی المستوی الإیقاعی والدلالی. وأمّا بالنسبه إلی مراعاه النظیر استطاع الشاعر من خلالها أن یأتی بعبارات متناسبه ومتناغمه ومتلائمه انتهی بها إلی خلق أغنیه وموسیقى ممتعه فی الکلمات. وأمّا بالنسبه إلی الإرصاد استطاع الشاعر من خلاله أن یستغل الفنون البلاغیه التی تحقق موسیقیاً عالیاً کالتکرار والإزدواج والتصریع.The Sayyed Muhammad Ali al-Adnani and His Significant poem in Lamentation for imam Hussein : A stylistic study (vocal level as an example)
Stylistics pays great attention to the phonetic level and its role in producing meaning, due to the prestigious position that phonetics has received in the light of modern linguistics. Mr. Muhammad Ali Al-Adnani is one of the most prominent poets in Khuzestan province in Iran. This research, through the descriptive-analytical approach, studies the musical structure at its external and internal levels. The results of the research indicate that in the external rhythm, the poet desires to use the light meter, which has more sections and a wider area. As for the rhythm of the side music, the rhyme is absolute because the absolute rhyme is consistent with the melodic nature of the poetry and responds to the poet's desire to convey his voice to the recipient clearly. As for the internal rhythm, the research dealt with voiced and unvoiced sounds, repetition, alliteration, antithesis, and consideration of the use of semantically related words )muraeat nazyr) and use of the figure for anticipation of the coming hemistich (arsad). As for the rhyme, the voiced sounds formed a dominant presence in the rhyme of the poem. As for repetition, it became clear that the poet took it as a basic key to enter the inner world of the text. As for the induction of alliteration, we found an intense presence of imperfect alliteration and derivational alliteration. As for antithesis, the poet was able to endow his poetic discourse with richness on the rhythmic and semantic levels. As for taking into account use of semantically related words )muraeat nazyr), the poet was able to use it to come up with appropriate, harmonious and compatible phrases that ended up creating an enjoyable song and music in the words. As for use of the figure for anticipation of the coming hemistich(arsad), the poet was able to use it to exploit the rhetorical arts that achieve high music, such as repetition, duality and alliteration. Keywords: Imam Hussein (PBUH), Al-Adnani, Daliya Ode, stylistics, phonetic level. Introduction As for our study, it is a review of the structure of Daliya Ode in mourning Imam Hussein (PBUH), a stylistic study based on stylistic theory to reveal the internal elements of the artwork and reach new research results. The importance of this study lies in focusing on the stylistic phenomena that distinguished the poet's style from the linguistic and artistic aspects to reflect the aspects of beauty in the poem or its artistic value. Such as verbal improvements and the flowing poetic music in the poet's poetry. Materials & Methods The research was based on reading the poet’s collection and analyzing his semantic poem to become a stylistic study that addresses the vocal level and its role in producing meaning and explaining it by deriving graphs that tell us about the poet’s use of rhymes and voiced and whispered letters that sound loud and whispered strings, and of course the sounds stand out to us as well. We hear it and enjoy it. And the repetition of the sound that is consistent with the emotional state in which the poet lived and the meaning that he aims to highlight. And the rhythm of rhyme in the poems of our poet Al-Adnani, which he relies on, in addition to the meters, which appears strong in an attractive musical rhythm, amazes the recipient and makes him enter the poet’s shrine to learn about the implications of this art in his poetry. Discussion & Result - Prosodic meter used in the Daliya poem is (Al-Khafif); because of its flowing musical spaciousness that is compatible with the melodic nature of emotional poetry, and helps in continuity and length of the phrase, as the emotional poet finds himself with the long meters with rhythmic breadth moving comfortably, presenting his ideas, and expressing himself, as the poet can extract from one prosodic meter different musical melodies that vary with the diversity of his emotions and feelings. - The rhyme in sentimental poetry has general manifestations, including (inclusion), which is considered a
تبلیغات
