جستجوی مقالات مرتبط با کلیدواژه "عبد الوهاب البیاتی" در نشریات گروه "ادبیات و زبان ها"

The history of the style goes back to the Greeks and Rome. The term style was included in the science of rhetoric and gained the attention of both Aristotle and Plato, as Plato defines it by saying: “Style is similar to a personal trait”. Through the definition that Plato provided for the term style, we notice that style for him is a special characteristic of every human being, as every person has his own style of employing or composing speech however he wants. Style is an acquired characteristic, but it is divided into different degrees. Stylistics in its true sense did not exist in past eras. In the twentieth century, this knowledge, like other literary techniques, was influenced by structural linguistics and acquired a new color and form.Structuralism is a critical approach that relies on reading the text based on strict principles and foundations, because this approach sees in the text a structure with its own rules that organize the distinct elements into a single unit, and its importance is independent of the outside world because concepts and ideas are extracted through reading the text. The structural approach to analyzing literary texts depends on multiple levels, which can be divided into the following headings:Phonetic level: This level depends on the study of letters, their formation, symbols, and their music, such as tone and rhythm.Grammatical level: This stylistic level often deals with the study of words and their organization, the structure of sentences, their composition, and their semantic and aesthetic properties.Morphological level: The purpose of this level is to study words, their verbal structure, and their function in language formation.Semantic level: The purpose of this level is often to analyze direct and indirect meanings and their associated images outside the boundaries of language.Symbolic level: This level studies the symbolism of the word and infers and synthesizes the role played by the previous levels in the new meaning and produces new literary meanings.There are many poets in contemporary Arabic poetry who created a new style in their poetry under the influence of Western schools, especially Structuralism. Among these creative poets with a special style is Al-Bayati, who was one of the pioneers of free poetry and used the niqab technique. This Iraqi poet created poetry in form and content, and his style was distinguished by the use of a mask and a tendency towards Sufism. He may have chosen Sufism as a mechanism to escape from bitter reality. Al-Bayati loved life, the land, spring, and children, and hated death and destruction. His poetry had characteristics such as easy and fresh words, sweet expressions, sincere emotion, and pleasant music, clearly in contrast to the poetry of Adonis.In the present study, the following three research questions are answered by analyzing the poem ‘The Torment of Al-Hallaj’ according to the theory of critical structuralism:1- What are the most important stylistic features of this poem according to critical structural theory?2- What are the most important stylistic elements used in this poem according to critical structural theory?3- Does the poet have special stylistic features in this poem?The hypotheses on which these questions were based are:Among the most important stylistic phenomena of this poem, we can identify the rhythmic structure, morphological structures, syntactic structures, and lexical structure. Each of these structures has specific subgroups.There are many elements that make this poem distinctive in terms of style, including repetition, symbols, intertextuality with myths, religious and historical texts, invocation and mask, inflection, dramatic techniques, and so on.There is a deep thought behind the simple words that sent the poem to the hidden worlds of the human soul where we can hear the cry of a man who understands the eternal suffering of man. Abdul Wahab Al-Bayati is considered one of the creative Arab poets, who was able to tranform life into the dialogue and multiplicity of voices in his poems by evoking the Sufi character in his poems while creating unity between him and the created essence. Al-Bayati brings to life different voices in the text using the mask technique and techniques such as two-way speech and rhetorical statements (interrogative, imperative, exclamation, etc.).

Dual contrasts are a kind of textual structure that the poet uses to reveal the harmony of contradiction within the text. This type of textual structure is one of the most important forms of expression in the poetry of al-Bayati, and she has used it significantly to express her thoughts, ideas and emotions. The present study, with a descriptive-analytical approach and criterion of Bayati's collection of poetic works, examines some important dual contrasts such as the contrast of death and life, me and the other, travel and return, love and revolution, homeland and exile, and the contrast of times. One of the most important findings of the present study is that the dual confrontations in Bayati's poetry have gone beyond a limited perspective, that is, word-for-word confrontation, and have taken on various political and social implications such as critique of the ruling hegemony and critique of the tragic situation of the Iraqi people. Regarding the contrast between life and death, research has shown that death, from Bayati's point of view, is necessary for the revitalization of Iraq. In contrast to me and the other, it was concluded that the other has played an effective role in expressing Bayati's wishes and desires and thoughts and ideas and deepening her innate will in different situations. In connection with the confrontation between the journey and the return, it was revealed that the Bayati journey was a journey in search of hope and the promised dream. Bayati established a link between love and revolution,

Shahrzād is the most famous motif in the world of fairy tales in Arabic Nights which entered the context of contemporary Arab literature. Arab literary figures, poets and writers, have employed Shahrzād as a useful symbol in their works. Abdolwahhāb Bayātiis one of those poet pioneers in the field of application of mythical and historical figures in the contemporary poetry. Shahrzādis one of these figures that Bayātiutilizes as a symbolic motif to criticize the influence of false traditions on the life of women in his conservative society. The poet composes a Jeremiad for a country which is grabbed in the grip of tyranny and colonialism and weeps for the urban man who has broken up with the mom of nature and sacrificed his soul at the feet of the urbanization idol. In the present article, the author aims to review Symbolic Shahrzād’s character by analyzing Abdolwahhāb Bayāti˒s verses and to explore the symbolic implications of Shahrzād. The author also tries to show that Bayāti˒s Shahrzād is a poetess of a traditional society both yesterday and today. On the other hand, she is depicted as the symbol of the author’s country and simple rural life.

Poems and stories have traditionally interacted. We find poets who told stories in their poetry. As the genre of story was not common in Arabic literature، Arab poets used it in their poems. Hover، in spite of the prevalence of stories in modern literature، narrative poetry has been used as a way of poetic expression by poets. Free Arabic poetry and modern Arabic poetry، unlike traditional poetry، which based on monologues، have a dramatic structure، as it encapsulate a collective spirit. Such structure is in need of narration to be in harmony with the collective spirit. This is the reason why such stories have grasped the attention of modern poets. One such poet is Abdulwahab al-Bayati، who was interested in dramatic poetry and odes. So we find narrative features in his poetry and the stories are derived from history، literature and mythology. In this study، we investigate narrative elements in the poetry of Abdulwahab al Bayati. We focus on four famous odes by him. The goal of the study is a qualitative and analytical exploration of narrative elements.

Sorrow is one of the poetic subjects which is frequent since the ignorance period through elegiac poems which are full of kindness and sad motions. But since the recent & new era in particular since he romanticism era it gains progress in such a way that it does not only appear through the poetic couplets which illustrate an experience of poetic elegical sense, but also it becomes of potential nature which sheds light on most of the poetic subjects accompanied with sad issue. Though the famous Iraqi poets belong to free verse poetry such as Badr Shakir al-Sayyāb, Nāzok al-Malāekah and Abdul-Wahhāb al-Bayāti have been in the beginning of their poetic way toward romanticism, sorrow has become a shinning characteristic in their poetic subjects such as love, nostalgia, death and the like. This article is going to restrict: first, the factors which strengthen the flourishing of romantic sorrow in the poetry of famous poets. Second, the harmony of technical illustrations with the romantic sad expressions and finally tries to show that whether these poets in spite of their diverse attitudes through the poetic passage follow the great romantic poets or not.