جستجوی مقالات مرتبط با کلیدواژه "khalil hawi" در نشریات گروه "ادبیات و زبان ها"

Illustrating the countenances of renowned literary figures within the context of both native and national literatures is a prevalent literary trend that reflects the reciprocal connections between these literary traditions. In the realm of contemporary Arabic literature, the intersection with global literary expressions has paved the way for the emergence of distinguished poets and literary personalities. These individuals serve as conduits, translating the poetic endeavors of celebrated international poets into the domain of indigenous literature.The Romanticism movement is recognized as one of the foundational arenas for comparative literature on a global scale. Spanning the late 18th century and extending through the 19th century, it permeated all of Europe, capturing the interest of critics and writers alike. This era stimulated an inclination to assess various literatures and literary trends, fostering a spirit of comparison. Additionally, the Romantics displayed a fondness for exploration, venturing into distant lands and delving into historical depths. Consequently, this movement gave rise to a network of influence and reception within its scholarly domain.The trailblazers of the Romanticism movement in the Arab world, particularly in Lebanon, were exposed to French literature and the luminaries of French Romanticism during the period when French-language schools and educational institutions were active in Lebanon during the colonial era. Among these influential figures is Lamartine. Salah Labaki, captivated by Lamartine's persona, directly drew inspiration from him. In a poem titled "Lamartine," Labaki portrayed Lamartine's character and pivotal life events through a Romantic lens, thus expressing his own perspective on the subject. Given the evident influence of Salah Labaki from Lamartine, this research is conducted within the framework of the French school in comparative literature, where the research criterion involves not only resemblance but also the substantiation of the flow of influence and reception.The research necessity identified by the authors of this article pertains to the absence of a comprehensive and systematic examination of Salah Labaki's perspectives on Lamartine's character, as portrayed in the specified poem. The significance of this undertaking is heightened by Labaki's emergence at a pivotal juncture in contemporary Arabic literature, marking the inception of a literary school. The mentioned poem serves as a vivid representation of the influential impact of eminent European Romanticists like Lamartine in shaping the Arab Romanticism movement. The research approach adopted in this study is descriptive-analytical, and from a methodological standpoint, it aligns with the categorization of a comparative literature study, as elucidated in the theoretical foundations section of the research.The foundation for interpreting the studied work in this research centers on the acknowledgment that Salah Labaki has employed the events from Lamartine's life and character as a means to elucidate his own Romantic perspective. This serves the purpose of illustrating the fundamental resemblance between Labaki's worldview and that of Lamartine. Consequently, the current investigation applies the principles of the Romanticism school to analyze and delve into the examined text. Indeed, the aforementioned poem can be viewed as an outcome of Romanticism, a significant literary movement or school. It is crucial to note in this context that the influence exchange between the Romanticism school and Eastern lands operates in a bidirectional manner. For Lamartine, akin to other eminent Romanticists, these lands have perpetually served as wellsprings of inspiration, as the Orient appears to them as imaginative, mystical, and wondrous (Servat, 2003: 44), with diverse depictions of it present in European Romanticist texts.The poem "Lamartine" underscores the significant impact of one of the preeminent Romantic poets globally on contemporary Lebanese poetry, particularly in the works of Salah Labaki. Labaki, drawing inspiration from Lamartine's ideological perspectives, adopts a deeply reflective stance towards natural phenomena and human existence. His poetry deviates from the enumeration of moral virtues and traditional elegiac meanings.In this poem, Labaki's perspective on the enigmatic event of death closely mirrors Lamartine's ideological outlook. Within the Romanticist framework, death is perceived as a gateway to a transcendental and idealistic realm. Consequently, the conventional apprehension of death, a prevalent theme in traditional poetry, gives way in the poet's vision to optimism and a sense of surrender.In this poem, in alignment with the Romanticists' perspective, Salah Labaki attributes a sacred and divine significance to poets. He portrays Lamartine's character as a guide for the people, emphasizing the reformative role of Romantic ideology. Conversely, the realists, who oppose Romanticism, criticize Romanticists for being disconnected from reason and logic, accusing them of indulging in illusion and fantasy.Salah also imparts a spiritual and mythical dimension to the women who played roles in Lamartine's life, depicting them as his spiritual support on the journey of spiritual exploration and mystical ascent toward perfection. Through this approach, he somewhat rationalizes Lamartine's extramarital love affairs with his lover.According to Labaki, Lamartine's isolation and solitude stem from the Romantic belief that ordinary people fail to recognize the worth and dignity of geniuses. The Romanticists assert that only geniuses have the capacity to liberate individuals from blind imitation.Labaki's perspective on nature and natural occurrences in this poem aligns seamlessly with the views of other Romanticists, including Lamartine himself. The poet imbues the phenomena with the hues of his inner emotions and thoughts, establishing a connection with them. Within this worldview, natural phenomena deviate from their traditional representation in classical poetry, serving the purpose of conveying the poet's reflections and contemplations through the voice of the phenomena.

In contemporary world literature, many philosophical topics and abstract thoughts are presented in the form of story structureExamples of such stories are abundant in Persian and Arabic literature. In these stories, poets and writers have tried to present their specific intellectual issues to the audience. Sohrab Sepehri and Khalil Al Hawi are among the poets who have chosen the motif of travel in some of their poems. The poems of these two poets are influenced by their thoughts. In this research, the poem of the Mosafer by Sohrab Sepehari and the ode of Al-Bahar Va Al-Darwish by Khalil Al-Hawi have been analyzed in a descriptive-analytical way.This research was done by the method of comparative literature research and based on the American schoolAnd he has investigated the themes of two poems of Khalil Al-Hawi, a contemporary Arab poet, and Sohrab Sepehari, a contemporary poet of Persian literatureIn addition, an effort has been made to investigate the influence of the poet's philosophical and mystical thoughts on his poems. In this comparative study, the differences and similarities of the poems of two poets have been examined to determine that despite the common motif; What changes have the poetic themes and vocabulary accepted?Sohrab Sepehri is one of the poets of Persian language who is influenced by Eastern mysticism in his thoughtsSepehri's poems are an image of mystical beliefs and inspiration from nature. On the other hand, Khalil Al-Hawi has been influenced by European and Western philosophical thoughts. The signs of influence contained in it can be seen well in his poems. In this research, the poem of the Mosafer by Sohrab Sepehri and the ode of Al-Bahar Va Al-Darwish by Khalil Al-Hawi have been compared in a descriptive-analytical way. Although both poets have used the travel motif in their poems; But due to the difference in intellectual beliefs, there are many differences in the themes and lexical arrangement of the two poems. Sepehri's poem shows an image of a convergent and peaceful world; While Khalil Al-Hawi's poetry expresses negative and contradictory interpretations in the world.According to the results of this research, what has caused the difference in the themes of the poems of the two poets; The difference is in their intellectual point of view. Sepehri's poem shows the world where intellectual beliefs live peacefully together, While Khalil Al-Hawi's poetry has depicted the Western thinking as destructive and Eastern mysticism backward. The final result of this study shows that the intellectual basis of the poet; It greatly affects the lexical structure and themes of his poetry

The story of Sodom appeared in religious heritage to explain the destination of pagans and the perverted people. Arab poet Khalil Hawi has utilized this topic in three odes. Using the descriptive-analytic method we tried to explain the hereditary and religious roots of these odes, furthermore we explained how Hawi modernized the story by applying it in a social and political situation in Arab countries and how he made use of pessimistic expressions in his views. The poet's viewpoint is vividly pessimistic in these odes and he relied on symbolic expression of the topic of Arab sovereignty in Arab homelands and of old dogmas and reactionary thoughts with a Grotesque diction; so, he shows his anger and wrathful attitude toward tyrant and absolute Arab sovereigns and toward Arab nations for their passivity, silence and obedience against them. The results show that our poet has had three phases toward this problem: firstly, he looks pessimistic to existence in the first ode "Sodom", so confusion, stress, and death are apparent as main themes in it. In the second ode "Return to Sodom" we confront a radical change in his attitude, because there are some hints of optimism and hope for Arab revolution; But at the third ode "Sodom for the Third Time" this hope will wither soon and a newborn pessimism will takes its place and our poet looks gloomy and sad.

In the contemporary period, following the new conditions that occurred in the Arab society, the language of poetry changed and the poets renewed their poetic language. Khalil Hawi, like his other counterparts, innovated in different parts of his poetic language and used poetic language as a tool for creativity and a tool for creating images, so his poetic language has a special charm and beauty that deserves to be studied. The present article descriptively-analytically discusses the aesthetics of the poet's poetic language in order to achieve the aesthetic components in two poems (Sodom and Post ice). He has the power of expression and delicacy, and sometimes we see that he uses a language full of the spirit of life and emotion. Structurally, it has given a new emotional atmosphere to the poem, the use of which has led to beauty in his poetic language, including the most important elements of beauty, a part of the poet who uses it to create a distinctive image in his poetry and express special beauty in his poetic language. They include: repetition of words to emphasize meaning and music creation, change in sentence structure, use of the speaker's (intrinsic) conscience that refers to the poet's concern for the nation, visual paradox, contempt in the structural and semantic type, and the use of the myth of Tammuz.

Khalil Hawi is one of the contemporary Lebanese poets who have many reflections on contemporary man and his problems. His poems contain an echo of modern man and his struggles that speak of the pain, suffering and injustice they endure. He considers mankind in our time, especially the contemporary Arab man, to be a captive creature who has fallen into the current crisis, surrounded by oppression. He also addressed in his poems the grievances and crises that made the modern Arab man, especially the contemporary generation, stagnant, to the extent that his poems depict a deep crisis and tragedy, and this is the same crisis and grief that has become the basis of contemporary human existence. The contemporary poet is not ignorant of the contemporary man’s awareness of his oppression and his problems, and he seeks to explain the contemporary man with the human principle. Khalil Hawi has ideas for saving people in his poetry and uses and expresses his existential experiences. Hawi believed that, in order to save himself, modern man made freedom the title of his life and with slogans such as; Hope, waiting for a miracle, with certainty, struggle, revolution, uprising and idealism, he tries to work with these ideas, efforts and struggles in order to save humanity, especially the Arab man, and in all these circumstances he hopes to achieve the freedom he desires.

The elements present in poems written by poets are the reason behind their distinction from regular, everyday language; however, each poet would make use of these elements in a way that is proportionate to their own inner emotions, different from others. As a result, each poet has a unique style which is shaped by connections among the poet’s personal set of poetic features.
The present study is an attempt to provide answers to the following question: To what extent has Khalil Hawi been able to incorporate his thoughts into his poetry? What are the instances in his poetry where his emotions are manifested more significantly than the phonetics? This study is based upon a hypothesis according to which the poet has successfully incorporated his emotions which are mostly full of sadness and frustration into the majority of musical elements of his poetry; these thoughts and ideas can be found in the external music with respect to his selection of rhymes. Even in the side music, the type of rhymes and their last letters along with their sounds express these thoughts. Given the vertical repetitions and other factors in the internal music of his poetry, his anxious soul is put on display; the same is true in the spiritual music as well.  

Review of Literature:
There has been a number of separate books and studies written about this poet which are not in line with the purposes of the present study; however, below are some of the most prominent works: Khalil Hawi’s Poetry (Derasah Fanniyah) by Ali Jumaah Aydi; Al-Eiqah fi al-Sher al-Arabi al-Hadith: Khalil Hawi Nemawzaj by Khamis Alwartani; Khalil Hawi Shaeir al-Hidathah va al-Rumanciah by Abdul Majid al-Hor; and “Derasah Osloubiyah fi Qasidah al-Bahar va al-Darwish la-Khalil Hawi”.

Using the descriptive method and content analysis through the study and examination of data, the present study seeks to investigate the stylistics of phonetic layers in Khalil Hawi’s complete set of poetry which includes five Divans: Nahr al-Remad, al-Naay va al-Reih, Biyader al-Jawu, al-Raad al-Jarig, and Min Jahim al-Comedia. Given the extensiveness of studies on stylistics, a single stylistic layer (the phonetic layer) was selected. 

Layer Stylistics

In Arabic, the equivalent for stylistics is “Osloubiyah” which is comprised of the word “Osloub”, derived from the main word, “Salb”.

Sounds and the Phonetic Layer

There are a variety of the music types in poetry. Certain known types including external music, side music, and internal music are introduced by Shafiei Kadkani. In this study, these types along with the spiritual music are examined in Khalil Hawi’s poetry.

External Music

External music is the area of Arabic prosody in poems. The majority of the poems written by the poet are in Bahr Ramal. The use of this Bahr relates the poem to a sad, sorrowful affection.

Side Music

Side music refers to musical manifestations shaped by repeating poetic words at the end of each verse. In conventional forms, prior to other items, the use of final rhymes are more common. There are a number of different rhymes in Arabic which includes: Mutiradif (synonyms), Mutiwater, Mutadarik, Muterakib, and Mutikawis.

Other aspects of this section involves the examination of the last letter of rhymes and Taqyiid in the rhymes of the examined poems.

Internal Music

Repetition is a prominent feature of internal music in poetry and a fundamental subject in art aesthetics. Vertical repetitions in the poetry are of two types: 1. Repetition of letters, nouns, verbs, expressions and sentences at the beginning of several verses; 2. the repetition of one or more verses in a single poem.

Puns

Puns refer to the spoken similarity between two words which are different in meaning. There has been no instances of the use of complete puns in the examined poems; however several incomplete puns were identified.

Rad al-Ajz ala al-Sadr

In Rad al-Ajz ala al-Sadr, one of the repeated words is placed at the end of the verse and the other at the beginning, Hashw, at the end of the first hemistich, or at the beginning of the second hemistich. A number of related samples are provided.

Spiritual Music

Includes paradox, symmetry, and allusion:
Paradox

The use of this device in Khalil Hawi’s Diwans is significantly frequent.

Symmetry

It is one of the most-used literary devices which are abundant in the examined poems.

Allusion

Allusions are references to a known anecdote, a famous poem, a proverb, or the name of a well-known individual, the story of whom is not expressed in a clear manner. A number of examples of this device are also provided.

The following were obtained in this study:
Khalil Hawi has put in his best effort to incorporate his inner states into the entire aspects of phonetic layers in his poems.
In the external music of his poems, Hawi has used rhythms that express his inner emotions. Given the examinations carried out on his rhymes, it was shown that out of his 42 poems, 22, 12, and 6 poems were written in Bahr Ramal, Bahr Rajaz, and Bahr Kamil, respectively. Moreover, there are two poems written in Bahr Wafir and Bahr Sarii as well.
He has also attempted to choose his rhymes with respect to his personal emotions. Out of his 42 poems, the type of rhymes in 27, 13, and 2 poems involve Mutiradif, Mutiwater, and Mutidarik. The last two type of rhymes are non-existent in the examined poems. As a result, 64.28% of rhymes across the entire poems in the Divan are Mutiradif (synonyms). Because according to experts and scholars, this type of rhymes can express the poet’s inner sorrow and sadness. Finally, 30.95 and 4.76% of rhymes are Mutiwater and Mutidarik, respectively.
In the internal music of Khalil Hawi’s poems, repetition is abundant; most of these repetitions are vertical and used in two manners. Out of his 42 poems, the first type of vertical repetition is used in 27 poems, i.e. 64.28%. The second type is present in only 11 poems. Vertical repetition of verses are observed in only 26.19% of his poems.

In the religious context, the Devil’s rebellion in the creation myth represents sin, evil, and eternal damnation. But sometimes writers, by disturbing familiar signs and defamiliarization of names such as the Devil, recreate religious myths which are of a new form and which, regarding their content, oppose the original ones and, thus, are not very consistent with public opinion. The present research, focusing on the practice of defamiliarization of familiar concepts, examines the symbolic representation of the Devil in the poems of Khalil Hawi and Forough Farrokhzad who, with a different conception of this symbol, have transcended the borders of religious concepts. As deconstruction of literary works into their sources and influences destroys their entirety, the article employs a methodology which does not consider the way the text has influenced other texts and has been influenced by them. Thus, we study the poems of two poets who have no relation to each other and are not influenced by each other. In fact, what makes the article to focus on the foregoing poems of Farrokhzad and Hawi is that they enable us to find new meanings in relation to the Devil, meanings which are a form of deviation and a new expression of the concept of the Devil. These points provide a context in which we can study the content of the poems of the two poets in a comparative manner. So, the article tries to reexamine the poems of Farrokhzad and Hawi to demonstrate that they have used Koranic images and stories to recreate the Devil and that how their shared resources such as existential thoughts and familiarity with the works of Western romantics along with their successive failures in life have affected their poems in this regard so that Farrokhzad’s poetry is the cry of the captive humanity and Hawi’s is the scream of a patriot who has reached deadlock.

Khalil Hawi is one of the most famous poets of 20th Centuries’ second half. His deep awareness about philosophy caused tendency toward human understanding, dreaming and inspiration. His poetic language is mystical, pictorial and mythical. His aim in mystical poetry is to depict his goal in the reader’s mind and make the audience understand the meaning. Hi does not want to express the meanings exactly: he talks about the subjects that are not simply analytical. The present article applies the mythical secrets in descriptive – analytical method.

Dystopia, or ruined city, is a model of the formation of an unpleasent territory whose residents try to access a different kind of utopia and it is originates from the failure of the intellectuls and the founders of the utopia to give existence to this imaginary place which paved the way for the appearance of an opposite thought against their aspiration. By considering the scarcity of the conducted research on Khalil Havi’s poetry, and especially the alienatiation of this philosopher poet as the most prominent of planners of dystopia pattern in Arabic contemporary literature, this research attempts to answer two fundamental questions by reviewing Havi’s poetry from dystopia literature point of view, and surveying poetic thoughts in relation to the contemporary era:1-what are the main features of dystopia space and thought in poets’s language, cognition, and poetry? 2- what approaches are shown in Havi’s final images of dystopia in the contemporary era? This article, reviewing the concept of dystopia and its forming path, considers the elements and constituting componants of dystopia domain in Havi’s poems. These components include stagnant time, the intervention of time in place, the dominance of evil and corruption in the world, and the reflection of the poet’s whispering about the disappearance of the traditional chastity of man. The final result of the present study shows that the aim of Havi for dystopia review and design is to invite man to a humanistic vision and a paramaterialistic approach in the contemporary world.

Really the religious tradition has a lofty position in the poetry at the contemporary Lebanese poet, Khalil Hawi.In fact it comprises a basic and hidden factor of his odes. Using the potentials of this tradition gave the poet an opportunity to create diversity in his poetical methods by avoiding lyrics and oratorical. And therefore, to enhance the aesthetics dimension of his poem words. This study attempts to examine the reference to the religious tradition (the Torah, the Gospel, the Quran) and its application in Hawis poems by means of intertextual technicues. Thinking that the who poets are noble and unique, return to the tradition and are involved in things that Roland Barthes calls "remembring". absolute unigueness is difficult for a man. Unless he wants to connect the words. It is inferred that Hawi tries to challenge political and social issues of Arabic countries with the help of religious intertexyuality. In addition, he paysparticular attention to reverse intertextuality. and gives a tragic implication to his hidden religious text for certain causes.