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الرئيسية > شعر الفرسان في العصر الجاهلي:...>الوصف

شعر الفرسان في العصر الجاهلي: الوظائف والدلالات

المؤلف الرئيسي: الصالح، رحيق صالح فنجان (مؤلف)
مؤلفين آخرين: العبودي، ضياء غني لفتة (مشرف)
التاريخ الميلادي: 2011
موقع: الناصرية
التاريخ الهجري: 1432
الصفحات: 1 - 230
رقم MD: 553235
نوع المحتوى: رسائل جامعية
اللغة: العربية
الدرجة العلمية: رسالة ماجستير
الجامعة: جامعة ذي قار
الكلية: كلية الاداب
الدولة: العراق
قواعد المعلومات: Dissertations
مواضيع:
الشعر العربي | الشعر الجاهلي | شعر الحماسة | القصائد الشعرية | نقد الشعر
رابط المحتوى:
صفحة العنوان     
المستخلص     
قائمة المحتويات     
24 صفحة الأولى     

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المستخلص: The main points which are concluded at the first preface that: the semiotic approach can considered as a suitable technique as having different tools an comprehension in studying the non/linguistic forms of the Pre –Islamic poetry(Jahily). This suitability coming from the flexibility to be applied on all modern studies. So the pre- Islamic poetry cannot be subjected to efface and inactivity. Even though it has the simplicity of its poet’s ideas and expression, it has a special philosophy to be a distinguished one as it is considered as an important period of the Arabic poetry career. Additionally, its image is not a typical and a traditional one for the need to the semiotic analysis to explain its several codes and symbols. The second part of the preface is concerned with fact that, in spite of the four pre- Islamic poets who joined together in the field of chivalry, they differed in their motivation in term of having a private aims and philosophy to be realized by each one of them. Therefore, according to the relations of chivalry as the reasons and motivation, it is possible to say that those relations can be divided into two parts: a particular one which is focused on the selfness(personality) of the knight and his vision. The other part is a general one which is derived from the principles of chivalry and the impression of the society towards those principles. Moreover, there is a clear difference between chivalry and pauperness, in regard to the principles of knights, their moral factors, and the natural ideology, if not, he will be just a pauper.

It is reached in the first section of the first chapter that the knight poet is not far away from the psychological effects in defence and attack not to adopt only the common weapon against his opponent. However, the difference of the poets’ classes lead to create different views of the traditional tools of fight. One of those tools is the escaping as it is acceptable by the chiefs of the tribes as an art of fight in limited aspects. Running a way is not all time is acceptable, because it is a shameful thing in relation to the existence of the knight’ personality. It is shown that in the second section, the weapon is not just a tool of fight but it has a moral, symbolic, spiritual, and psychological, dimensions. So that the aim of poets is to seclude themselves to draw extra description of the parts of weapon. Whereas, it is stated in the third section that the horses represent an important thing not as an animal to ride. Such a necessity is framed within a spiritual relation between the knight and his horse to be joined as on thing in sharing heroism and distinction. Furthermore, the fact is very clear in the first section of the second chapter in expressing the status of the woman and her role in the life of the knight poet. This status is not as it is mentioned in the poems of Imro’u al- Qais, and al- A’asha but her status is described as a real partner in the knight poets’ career. The woman’s status is the same whether she is a real or magic person described as a wife or beloved by the poet as an element of his basic social affiliation. This association is represented by the mother, the tribe, the ground. For the traditions the poet does not always allow to have a real existence of a woman and limit her founding in his imagination.

The important symbolic signs of the body are presented in the second section as a result of the domain of the moral, social and ideological circumstances. So when those signs are gathered by the knight poet, he will be an ideal modal of a perfect knight. In addition, the third section of this chapter shows that the knights’ garment is a special phenomenon of themselves, occasions, and conditions in which it forms a special culture of the group of the knights. The ideological level of the knights about the place and time with their relations is presented in the third chapter to show the different signs of the effaced civilized images which are not appropriate with the principles of chivalry. Both time and place control the human life as they are shown in the knights’ poems. Their drawing about those two elements is a revolution against the traditional framework to show the ability of the knight to control the abstract and psychological dimensions of the place and time to be exploited to fit the private culture of the chivalry. It is shown in the fourth chapter that the knights’ ability to create independent images from their environment by adding ideological touches of arts to present different special symbols not to convey a literal and inactive report of their environment. It is realized at the next section that the linguistic techniques which are used by the knight poets are not new or abnormal but they differ in function and the resulted symbols. The last section exposes the poetic meters by which the knight poets arrange their poems to present the level of the internal and external of the musical harmony. They have the ability to exploit such a harmony to serve different cases and to speak about them artistically.

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