الصورة البصرية في شعر عثمان بكتاش الموصلي (ت1222هـ)

الباحث

عمر حازم حامد محمد الجريسي

المشرف

شريف بشير أحمد

الجامعة

جامعة الموصل

الكلية / القسم

كلية الآداب / اللغة العربية

الشهادة

ماجستير

السنة

2022

لغة الرسالة

عربي

الكلمات المفتاحية

الصورة البصرية ; عثمان بكتاش الموصلي ; الشعر العثماني ; الصورة الشعرية

The poet Othman Baktash Al-Mawsili (born in 1222 AH) is one of the most prominent poets of Iraq in the Ottoman era. His poeticism was brilliant, and his fame spread in Mosul in the second half of the twelfth century AH and the first quarter of the thirteenth century AH. The classical Arabic language was at the height of its prosperity in this era, and the spread of the Romantic Movement was at its highest level in Mosul. Among the evidence of her remarkable literary and poetic activity are the convoys of visitors, learning and teaching circles, and her schools brimming with her children and teachers. And after a scientific and critical dialogue with my professor, Dr. Shareef Basheer Ahmed; Point out to me that the poet Othman should be the subject of academic research with a critical vision, and he advised me to read his book, which has been verified, an academic and scientific investigation, a careful, conscious and careful Because of the quality of his poetry and the abundance of his themes, and his possession of a conscious poetic experience, his compositional and plastic ingenuity in the visual sensory image, and his distinguished position among the poets of his time and his city in the Galilee family. After reading the book several times, I realized the literary and cultural value of the poet and the title. I wanted tourism in the poetry of an Iraqi poet with cultural references that took shape in Mosul with innovative contexts and patterns And (the visual image) in its formations, themes, manifestations and formats, a glossary from the glossaries of poetic construction, and an entry from the approaches to applied aesthetic criticism in the poetry of Othman Baktash Al-Mosili; And a pragmatic term in modern literary and critical studies, a visual aesthetic value, a pattern of linguistic structures patterns, and a form of sensory image with its objective horizons, which is an application to Iraqi poetry in the Ottoman era. The one who looks at the visual image will find that it constituted the study of the realism of Mosuli poetry in the second and thirteenth centuries of AH. The poet was distinguished by vitality and aesthetics. As the poet employed it in his poems visually; Because the eye is the basis of the senses, rather it is the pillar of the senses, so no sense is superior to it. Rather, it takes precedence among the senses; It distinguishes between chromatic rhythms and kinetic contexts; He relied heavily on optical photography; A vision of conveying his images and visions, and what he desires to the other in the most effective and visible visual image; B The poet uses the material and the moving as a pictorial tool by which he depicts whatever images he wants with light signals and visual forms to break the horizon of mental expectations I built the joints of the study on a preface preceded by an introduction and two chapters followed by a conclusion. The preamble revolved around two pillars; They are: (Visual image is a critical term) by presenting theoretical concepts of the visual image that were present in theoretical contexts in modern criticism, which singled out narrative spaces for the sensory image in the context of presenting the poetic image with different methodological premises, and (Othman Baktash Al-Mawsili, a biography of a life and a journey of creativity) with a narrative Luminous aspects of the poet's life, career, and connections to the venerable family whose loyal and original sons ruled the vilayet of Mosul in the Ottoman era for a century; They showed efficiency, leadership and wisdom. The first chapter revealed (the visual image and the authoritarian Jalili personality); As the objective, intellectual and aesthetic relationship between the visual image and the Jalili personality emerged as an interconnected relationship; Because the venerable figure was an active political, social and cultural figure in Mosul, and the visual image was present in the embodiment of the figure of Suleiman Pasha al-Jalili, and the visual image and personality of Muhammad Pasha bin Muhammad Amin Pasha al-Jalili. The visual image and venerable personalities have a vital political and cultural presence; Like Muhammad Amin Pasha bin Hussein Pasha Al Jalili, the character of Numan Pasha Al Jalili, and the character of Othman bin Suleiman Pasha Al Jalili The second chapter was in (the visual image and the world of a woman and the aesthetics of nature); I represented the woman with her sensory components, her human world, and her physical presence; A triangle of an objective world and a visual context in a sensory world that the poet embodied in a visual image that showed the aesthetic values of women in the image and scene at the moment when the poet brings the woman from the real world to the world of poetry; He painted it visually in figurative language. As the poet realized with his creative sense and his visual vision the elements of balance and structural and pictorial coherence between the visual image and the aesthetics of nature by highlighting the worlds of beauty in the meadows that emerged as a sensual, visually aware pattern. For the moral humility, gratitude, and preservation of scientific integrity; I thank and appreciate to the one who corrected my message scientifically and academically, my professor, Dr. . Shareef Basheer Ahmed, who supervised this study. Thanks, loyalty, and lasting righteousness extend to ( my father), the Most Merciful Allah honored him with heaven and bliss

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البريد الإلكتروني

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