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الرئيسية > الروح الوجداني في نقائض العصر...>الوصف

الروح الوجداني في نقائض العصر الأموي

المؤلف الرئيسي: الغريري، أوس حمد فرحان (مؤلف)
مؤلفين آخرين: العبيدي، ناهي إبراهيم (مشرف)
التاريخ الميلادي: 2010
موقع: بغداد
التاريخ الهجري: 1431
الصفحات: 1 - 175
رقم MD: 559136
نوع المحتوى: رسائل جامعية
اللغة: العربية
الدرجة العلمية: رسالة ماجستير
الجامعة: الجامعة الإسلامية بغداد
الكلية: كلية الآداب
الدولة: العراق
قواعد المعلومات: Dissertations
مواضيع:
اللغة العربية | شعر النقائض | العصر الأموي | الشعر العربي | الشعراء العربي | النقد الأدبي
رابط المحتوى:
صفحة العنوان     
المستخلص     
قائمة المحتويات     
24 صفحة الأولى     

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المستخلص: I always knew felt the extremes during the Umayyad period, spellings and pride, they sported dual purpose by the extremes between Jareer and Farazdak and Akhtal, built of many studies on this basis, which dealt with the color of the hair on it's satire and pride, but here pick up the pieces and say: not yet, we have discussed in the poetry of opposites and searched deeply, we found it not entirely devoid of emotional Spirit, that feeling which gives a sense of self is connected to the poet and Khaljath, reflects all that is touring the same mind, this trend was present in several purposes, including: spinning, Lamentations, and description. And sometimes a vulnerability in the religious poets of the Islamic religion, we believe the creation of Itkhalq Akhtal Christian religion in some Anagaidah, and see Grira Farazdak Oahjy and poets also goes back to their senses and thinking about the Day of Resurrection, and how each person Siote death wherever he went and he left. These pictures of the emotional feeling in the poetry of opposites to Jareer and Farazdak and Akhtal. If we want to summarize what is contained in this message after the toil and research, say that they are involved in preparation, and three chapters, and the boot was entitled: (opposites and after the historical, social and psychological), which dealt with the language of extremes and idiomatically, conditions, rules, and then spoke briefly about the historical roots it was issued in ignorance of Islam, then summarized the factors of prosperity in the Umayyad period in general, and spoke about the origins and causes of opposites between Jareer and Farazdak one hand, and Jareer and Akhtal the other hand, in the poetry of opposites Vlmst trend was the result of causes and conditions, whether subjective or political or social or religious, lived all of Jareer and Farazdak and Akhtal, they called on their impact to be an expression of hair sensations and feelings of self, to be so expressive and influential in the recipients and Samah.

The first chapter, was entitled: (Spirit emotional extremes in Jareer and Farazdak) offered a sense of emotional extremes in the poets, and demonstrating the features, and how come sometimes in the yarn or beloved wife, and at other times comes lament or description, which broadcast the touring poets themselves from feelings and emotions, and showed how the impact of Islam on both, and how that reflected on haircuts, finding at the end of the extremes that Jareer and Farazdak known spellings outrageous that painted a grim picture for them especially, and the era of the Umayyad general, this picture that has become inherent in our minds and our minds as opposites remember remember spelling, and competition among these poets, which led them to over-dwell on the symptoms and HTC values, to win the respective owner as N. Ogle in the libel and insult, increased to proportions that pride, the tribe, making some of the extremes is a revival of tribal nervous, do not forget the praise of the caliph appease him and to earn the affection, all that we have quoted from the extremes - from spelling, ejaculation, and insult, violation of the symptoms, and foolishness, and slander, and pride, and praise artificial - was often rolls in extremes Farazdak after Jareer and verses in the yarn, and Kin, description, and Lamentations, which reveals the experience of conscience, and the same bright, full of conscience, love, and tenderness of the family, was a new image insomnia overflowing emotions, sensations, and Oazbha show the extremes of this romantic image of being donated by a different face. I felt also in the sense of emotional extremes in Jareer and Farazdak influence of religious movements that were prevalent at the time, and thus we see in the sparkling clarity of spiritual myself poets, represented in the Mnajathma God Almighty. And finally concluded that this trend re-draw the image of women's stylish fresh, having been damaged in the midst of fighting between the poets, and were exposed to indecent assault to view, becoming a woman is the wife and beloved, which organizes the beautiful verses sincere expressions of feelings and emotions of the Interior.

The second chapter, was entitled: (Spirit emotional extremes in Jareer and Akhtal) dealt with the features in the emotional extremes of poets, and stopped when the purposes for which these features which reflected the spinning and Lamentations and description, which presented how they have influenced religious movements in the poets of opposites, especially when Christian Akhtal and how the impact of Islam in Anagaidahma and found out that Jareer and Akhtal were each start Anagaidah the feelings and emotions and conscience, away from tradition in the introductions to pre-Islamic and Islamic times, has passed two poets Maholan slot new artistic paths are clearly different from the old Almzllp paved paths, and Ahtdia Bihsashma sincere crossing to many of the innovative art images, and - mostly - Photos psychological codon affluent and rich suggesting token, so they have taken a photo and a special status makes it a tool of expression rather than an instrument of similar is the same as before the image of Romantic literature. It also concluded that the sense of emotional extremes in Jareer and Akhtal, which included a trend during the Islamic stances are beautiful, especially the Christian Akhtal influenced by Islam, but in return Akhtal liberal feelings when dealing with women and alcohol, it is expressed, identified and described what was in the same love for them, and we find many Anagaidahma hardly devoid of feeling Mbthot - whether consciously or religious - between the two purposes of the two extremes of praise and satire, a trend represented in the deep lines and subjective poet, this is almost a sense of help writers and critics to change its image to the extremes as satire only, not even hardly paints a picture of almost lost in the absences of development and vulnerability to Western literature, and found that there is a similarity between the extremes Jareer and Akhtal emotional and movement that emerged in the modern era, and this similarity stems from the poet to broadcast feelings and emotions of self in his poetry, let alone be broadcast experience emotional extremes in spelling, have drawn her picture over the ages as a satire, the experience of the poet in these poems tell us that the feelings and emotional feelings and undeniable, and concluded that these poets have created poetry inherent in the images Anagaidahma, were two Ehtdian to the experience of poetry is far from true that the meanings consumers in praise and satire, as some genuine emotional experiences, and some of what was moving and sometimes a manifestation of consciousness of nature and animal life.

The third chapter was devoted to study the technical Spirit of the emotional extremes and Jareer and Farazdak Akhtal, and the conversation was limited to the following topics: Poetic image and means of composition, metaphor, metaphor, and metaphor, and presented the music of poetry, particularly the music of the Interior: marked by repetition, and alliteration, and antithesis, and the words and music of Foreign Affairs: of weight, rhythm, finding out that opposites poets have used metaphor, allegory, and metaphor, and both types of music, to express themselves and their experiences of self, so we They produced a sincere attitude expressed.

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