فهرست مطالب laila hoseini

1. General Introduction Wahbi al-Tal whose pen name is Arar that he was born in the 1899 in Irbid city in the north of Jordan, in a cultural family. In that time the Arab world was in a cultural isolation and it was immersed in silence, pain, seclusion and backwardness, which was subordinate of the Ottoman Empire and was begin to decline and demolition. His father was a Jordanian educated and Arar learned Turkish language which was official language in educational period he also was familiar with Persian language which was taught at that time (al-Tal, 1957, 49). He got his title from, Arar Ibn Amro Ibn sha'as al-Asdi that was a poet of the era of ignorance (Bekar, 1990, 31). 1. corresponding author: [email protected] Arar's poetry consist of themes such as love, attention to the woman, win and drunkenness, being and nothingness, life and death, debauchery and pleasures, repentance and committed lyrics and resistance. Defamiliarization is one of the significant feature of his poetry which has been done in variety of ways including the addition of rules, transgression in rhymes, elegant imagery and new combination and cohesion and harmony. 2. Theoretical framework Addition of rules unlike deviation (from the norm) is not deviation from rules of language but also it is exercising additional rules on the rules of norm language. Addition of rules can be investigated and classification according to harmony in phonetic, lexical and grammatical levels and analytic levels of phonetic harmony and lexical harmony in Mostafa Wahbi al-Tal's poetry in this way that is one of defamiliarization's practices, would analyze and investigate in this research. After discussion about addition of rules, this article seeks to answer this question: how much addition of rules could make foregrounding in his poetry and what is his goal of this literary approach? This research is based on this hypothesis which Arar has missed from rhythms of prosody and phonetic harmony in some the odes. 2-1 Review of Literature Upon exploring the history of the study, no essays regarding the criticism of Arar's poetry were discovered; however, a number of essays about the poet himself have been found including: - ،،عرار: شعریه التجربه لا شعریه الذاکره،، by Ibrahim Khalil, - "Epistemological origins of Arar" published by Ziyad al-Zaabi, - "The efforts of Arar, the great Jordanian poet, within the realm of Persian literature" by Bassam Ali Rababe'e, - "The influences of the Sage of Neyshabur upon Arar, the great poet of Jordan" by Bassam Ali Rababe'e. - ،،اللغه و الاسلوب فی شعر عرار،، by Mahmoud al-Sammarah, - And ،،وجوه تاثر مصطفی وهبی التل (عرار) بعمر الخیام النیسابوری،، Published by Behrooz Ghorbanzadeh. 2-2 The scope and focus of research The focus of this studies is different from the aim of this research. The present study is a literary research on addition of rules with regard to the aforementioned poet. It is worth noting that findings of this research are examined through the examination of his poems (divan) called the Asyat Valley yabs. 3. Methodology This study investigate addition of rule practices based on the theories of formality in an analytical-descriptive method. 4. Discussion results Defamiliarization consequently, addition of rules and deviation cause foregrounding in his poetry, which this research achieved the following results in this regard: 4-1 Phonetic and lexical harmonies is one of the most important features of addition of rules. by using these harmony the poet has done habit breaking in the field of addition of rules, of course using of deviation and addition of rules in Wahbi al-Tal's poetry are very effective and in this way he has been able to bring foregrounding to his words in the eyes of audiences. 4-2 The element of repetition is one of the most important music features of Arar's poetry which has doubled his poem's music and has given his poetry a certain coherence, repetition in his poem has much frequency and appears in variety forms such as phoneme, word and sentence repetition. 4-3 Given the harmony between rhythm and content and between rhythm and words, the poet was keen on modernism in rhythm and deviation from poetic metres, and about transgression in rhymes, one can point to enter pantastichs in his poem. 4-4 He uses the following sound and fricative continuity in his poetry to express feelings like vitality, happiness, complain, sadness, and transferring them to the audiences, and these leads poem to being foregrounding and musicality. 4-5 Derivative pun has the highest frequency in Arar's poetry. 4-6 Breaking the syntactic or verbal rules and ignoring them and combine words or vocabulary association is pleasing for him, in fact the language he uses is literary and the audience will notice a new massage and Arar's speech causes defamiliarization. 5. General Conclusion Addition of rules is one of the significant features of Arar's poetry which can be observed in form of harmonies (phonetic, lexical and grammatical), deviations, innovation and revival in a number of rhythms of prosody, attention to coherence and harmony in poetry, transgression in rhyme.

Mustafa Wahbi al-Tal known as Arar was a Jordanian poet and intellectual whose works consist of themes such as love, wine and drunkenness, being and nothingness, life and death, debauchery and pleasures. Defamiliarization, a significant feature of his poetry, has been done in a variety of ways, including the addition of rules, transgressions in rhymes, elegant imagery and new combinations, cohesion and harmony. Considering the theories of formalists and presenting a brief introduction on criticism of formalism and its principles, the present study attempts to explore the¬ defamiliarization approaches applied to five selected odes of Arar in an analytical-descriptive manner. Furthermore, the study aims to answer the following question: Which type of defamiliarization approach is common in these odes and what purpose the poet have considered in choosing such literary style? And as a result of such inquiry, defamiliarization consisting of the addition of rules, phonetic harmony, transgressions in rhyme, innovation and revival in a number of Khalili rhythms of prosody can be observed.
Theoretical framework: Formalist criticism maintains a structural perspective towards literary works and attempts to analyze, interpret and assess their internal features. These features are not exclusively related to grammar, yet they involve cadence in poetry and its instances as well (Abbaslou, 1987, p. 95).
Formalists often regard literary works as merely a type of form. They believe that investigation of such works must be based upon form, not the content. Defamiliarization is a vast, extensive category which entails both spiritual and verbal aspects, yet it majorly deals with linguistic issues (Shamisa, 2010¬). Russian formalists consider “linguistic peculiarities” and unconventional methods of expression in a work as one of the important levels of defamiliarization. In poetry, one may notice such argument in a variety of aspects, one of which is the application of “unconventional” expressions, vocabulary and language. This sort of “breaking the habit” and opposition towards artistic rules is regarded as the main sustainable essence of poetry (Ahmadi, 2011, p. 49). Indeed, Nazik Al-Malaikia, the female contemporary Arab poet and critic, believes that “irregularities in poetry is the golden rule” (Al-Malaikia, 1997, p. 72), which can be clearly interpreted clearly at this point.
Review of Literature: Upon exploring the history of the study, no essays regarding the criticism of Arar’s poetry were discovered; however, a number of essays about the poet himself have been found including:1. “ÚóÑÇÑ: ÔöÚÑیøóÉó ÇáÊóÌÑöÈóÉ áÇ ÔöÚÑیøóÉó ÇáÐǘöÑóɔ by Ibrahim Khalil,
2. “Epistemological origins of Arar” by Ziyad al-Zaabi,
3. “The efforts of Arar, the great Jordanian poet, within the realm of Persian literature” by Bassam Ali Rababe’e,
4. “The influences of the Sage of Neyshabur upon Arar, the great poet of Jordan” by Bassam Ali Rababe’e,
5. “ÇáøõáÛóÉ æó ÇáÃõÓáõæÈ Ýی ÔöÚÑö ÚóÑÇє published by Mahmoud al-Sammarah
The focus of these studies is different from the aim of this research. As a result, the present study is the first literary research on formalist criticism and defamiliarization with regard to the aforementioned poet.
This study explores a number of approaches regarding defamiliarization based on the theories of formalism in an analytical-descriptive manner.
Discussion & Phonetic-lexical harmony, one of the most essential aspects of the addition of rules, is among the most influential factors resulting in increasing the musicality of Wahbi al-Tel’s poetry. Repetition of phonemes, words and especially sentences can be seen frequently in his works. Considering the concordance between “meter and content” and “meter and terms” in his poetry, one could observe that the poet has been clearly interested in modernism in meter and format. In his transgressions in rhymes, one may notice the application of quintets in his poetry which similarly is filled with cohesion and unity in subjects and odes. The introduction of quintets in his poetry, in fact, may be regarded as a type of transgression in rhymes. Given that defamiliarization is one of the partial approaches of distinguishing creating works of art, and the application of such an artistic technique is the reason why Arar’s poetry is so distinguished, it can be suggested that linguistic peculiarities and distinct modes of expression in his poetry, defamiliarization of grammar, sentence structure, and meaning can be investigated by focusing on his use of imagery, especially paradox and parody, simile, metaphor, signs, symbolism, and archaism in his poetry.