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|3 10.33762/0694-034-001-011
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|a ara
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| 044 |
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|b العراق
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| 100 |
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|a طلاع، صبار شبوط
|g Tallaa, Sabbar Shaboot
|q Tallaa, Sabbar Shabbout
|e مؤلف
|9 255214
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| 245 |
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|a مفهوم الاستعارة بين القدامي والمحدثين
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| 260 |
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|b جامعة البصرة - كلية التربية للعلوم الإنسانية
|c 2008
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| 300 |
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|a 5 - 21
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| 336 |
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|a بحوث ومقالات
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| 520 |
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|a الاستعارة فن من فنون البلاغة العربية، تعدد تناوله بتعدد الدارسين من البلاغيين والنقاد العرب -قدامى ومحدثين-وإذا ما تجاوزنا التراث العربي وجدنا أنه فن بلاغي إنساني، وجد في تراث الأمم القديمة؛ لأنه مبني على التشبيه، الذي هو من أقدم الوسائل البلاغية الإنسانية وجودا في تراث كل الأمم، وفي هذا البحث نحاول تتبع فن الاستعارة من منظور تاريخي فني مقارن، نوضح من خلاله الآراء المتعددة، مختلفة أو متفقة حول هذا الفن، تأكيدا منا دوره في الأداء والتعبير.
|b The present study investigates the aesthetic structure that dominates the elements of the image and connects them within internal or external artistic relations. Speaking of the artistic image and its effective role in establishing the text literariness, it is most noteworthy, perhaps, to mention that the image itself represents a sensorial realization of an internal feeling dominated by motivators. The latter are created by the different elements of the literary work and the selection technique adopted by the composer in relation to each of these elements in an attempt to restore the balance between what is realistically actual and what the composer supposes it to happen. In other words, what can be called the aesthetic creation of the world is seeing reality from the artist's perspective. This viewpoint does not rely on the literal conveyance of what falls within a specific circle and does not adopt a photographic approach which is based on accuracy and clarity in representing things and conveying them to the receiver. Rather, it paints the selected items in colours that correspond with the nature of the feelings accompanying the process of conveyance. The image is the essence of imitation whether it is the imitation of a sensed reality or of an emotional or psychological event. Here, imagination plays a role in drawing the features of the image and in finding referential relations and covert meanings. The relations and meanings connect these features which are supposed to work in harmony with the general feeling the image reveals. The feeling revealed decides the linear movement of the semantic values that connect the image with the rest of neighbouring images in the text. In consequence, it decides the general emotional and intellectual values revealed by the text as well as its success or else failure in creating its own aesthetics.
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| 653 |
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|a الاستعارة
|a اللغة العربية
|a الشعر العربي
|a البلاغة العربية
|a الأدب العربي
|a الأدباء العرب
|a الأسلوبية
|a التراكيب اللغوية
|a معاني الألفاظ
|a العصر الحديث
|a البديع
|a علم البيان
|a البلاغيون
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| 773 |
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|4 العلوم الإنسانية ، متعددة التخصصات
|6 Humanities, Multidisciplinary
|c 011
|e Journal of Basrah Researches for Human Science
|f Maǧallaẗ abḥāṯ al-baṣraẗ. Al-ʻilmiyyāt
|l 001
|m مج 34, ع 1
|o 0694
|s مجلة أبحاث البصرة للعلوم الإنسانية
|v 034
|x 1817-2695
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| 700 |
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|9 86444
|a التميمي، عبدالكريم خالد
|g Al- Tamimi, Abdulkareem Khalid
|e م. مشارك
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| 856 |
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|u 0694-034-001-011.pdf
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| 930 |
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|d y
|p y
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| 995 |
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|a HumanIndex
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| 999 |
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|c 151471
|d 151471
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