التشكيل الفني للصورة في شعر محمد جلال الصائغ
Artistic Composition of the Picture in the Poetry of Muhammad Jalal Al-Sayegh
- الباحث
- لارا علي حيران
- المشرف
- أحمد جار الله ياسين
- الجامعة
- جامعة الموصل
- الكلية / القسم
- كلية الآداب / اللغة العربية
- الشهادة
- ماجستير
- السنة
- 2023
- لغة الرسالة
- عربي
- الكلمات المفتاحية
- التشكيل الفني ; الصورة الشعرية ; محمد جلال الصائغ ; الشعر العراقي
Abstract
A The image is an important element in the formation of the artistic structure of the poem, especially in the two sides of the references from which the image derives its subject and idea. The second aspect concerns the methods of artistic formation of this image with its various references and how to build it. Hence the choice was made to study this central topic in poetry, especially with our model (the poetry of Muhammad Jalal Al- Sayegh), which we found a special interest in the image in the structure of the poem after we performed the process of critical reading and systematic inventory of this phenomenon for him that crystallized in the title of this thesis (Artistic Formation For the image in the poetry of Muhammad Jalal Al-Sayegh). Moreover, this poet’s poetic experience has not previously been studied in an academic study of its own, especially in the subject of the image, and this was another motive behind choosing the subject for a poet who has an artistic specialty in poetry among his peers of poets in Mosul, and this is also consistent with our desire to shed light on poetry. In the city of Mosul by choosing a model of its poets. The thesis was based first on an introduction and then a preface in which we dealt with the main terms in the title (Tashkeel_al-Sura) from both sides of language and terminology. Two chapters followed, the first came under the title (References for the artistic formation of the image), and it was divided into two sections, the first (Semantic references, which included the following references: natural, religious, historical, literary and artistic). The second is (sensory references to the image) and it is distributed among the following images: (visual, auditory, gustatory, olfactory, and tactile images). As for the second chapter, it came under the title (methods of B formation and its construction), and it revolved around two sections, the first (methods of rhetorical artistic formation of the image), and it included the following methods: simile, metaphor, and metonymy. The second topic dealt with the construction of the image on two styles: the single image and the composite. Then the thesis reached a conclusion that included the most important results, followed by a list of the most important sources and references.
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