العنوان بلغة أخرى: |
متوالية هايكو لحسين عبداللطيف والتأثر بالأدب الغربي |
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المصدر: | مجلة الجامعة العراقية |
الناشر: | الجامعة العراقية - مركز البحوث والدراسات الإسلامية |
المؤلف الرئيسي: | حمودي، هاشم حميد (مؤلف) |
المؤلف الرئيسي (الإنجليزية): | Hamoodi, Hashim Hamid |
المجلد/العدد: | ع62, ج1 |
محكمة: | نعم |
الدولة: |
العراق |
التاريخ الميلادي: |
2023
|
الشهر: | آب |
الصفحات: | 634 - 642 |
ISSN: |
1813-4521 |
رقم MD: | 1416903 |
نوع المحتوى: | بحوث ومقالات |
اللغة: | الإنجليزية |
قواعد المعلومات: | IslamicInfo |
مواضيع: | |
كلمات المؤلف المفتاحية: |
تسلسل | حسين عبداللطيف | تأثير | الأدب الغربي | Haiku Sequence | Hussein Abdul Latif | Influence | Western Literature
|
رابط المحتوى: |
المستخلص: |
في هذا البحث الشاعر (الكاتب) يبين في كتابه طيور اللقلق الميتة وفي المقدمة ظاهرة جديدة بسبب تقاطع الثقافات المحلية والعالمية وعولمة الاتصالات الحديثة وتوسع الترجمات بين دول العالم وهي ظاهرة الومضة أو ما يسمى بالتوقيعات ويؤكد قربها الوثيق من قصيدة الها يكو اليابانية، ويذكر عدد من الشعراء اليابانيين وكذلك الشعراء الذين كتبوا هذا الشعر ومنهم عزرا باوند، وكونراد .... الخ ويؤكد أن هذا الأسلوب الشعري الذي كان في المجموعة ناتج من ثقافة أخرى له عاداته وتقاليده. أذن ما جاء في هذا المجموعة ما هو إلا صدى وتشابه مع القصائد (الها يكو) is known that there is no reliable heritage for this type of poetry in the Iraqi and Arab poetic map even, but the expansion of translations about it and the globalization of modern communications made the cross-pollination of local and global cultures available with unprecedented ease. Hussein puts a parallel title to his book, which is “From time to time lightning throws dead storks at us.” About this group, Hussein states in the introduction that these “flashes” or what is called again as “signatures” are similar to those who admire them for their admirers in private autographs, and that they took place during Two consecutive sessions, without specifying the place and time, how and why? He confirms its intimate closeness to the Japanese haiku poem and mentions a number of the most important Japanese poets, as well as the worlds, who wrote this poetry, including Ezra Pound, Ittis, Amy Lowell, Conrad, Frost, Wallace Stevens, Octavio Paz, Eluar and Dag Hammarskjöld, Secretary-General of the United Nations at one time, and Thomas Tranströmer, Nobel laureate for literature in 2011, and others, and decides that this style of poetry, which was contained in the collection, stems from another cultural perspective that has its own customs and traditions, the nature of its general and personal orientation, and its special linguistic style, which is the Arabic language with all the contexts towards it that control the methods of treatment, When writing, it is also accompanied by a set of clarifications. Based on what Hussein mentioned in the introduction, we see that appending the adjective (haiku) to this group is subject to two issues that Hussein wanted to clarify, with intent. That what came in this group is nothing but an echo or similarity with the poems (haiku), and thus it blocks the way for the mistrust that might happen. Therefore, I hoped that he would not join him with the “haiku”, but rather he would be content with what he mentioned as “flashes” or what he called “signatures”, and for Hussein in what he did his diligence and he was free in it, and what I wished did not diminish the value of this group, no matter what names it took |
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ISSN: |
1813-4521 |