جستجوی مقالات مرتبط با کلیدواژه « عزالدین اسماعیل » در نشریات گروه « ادبیات و زبان ها »

Considering the importance and position of the Arabic language as the official language of the Islamic religion and considering its important role in the regional arena, the teaching of this language is facing major challenges. Arabic language teachers do not feel the necessary efficiency in the process of teaching it. Perhaps the lack of use of regional and global experiences in the field of Arabic language education is another reason for the existence of weak points in Arabic language learning and teaching. One of the global methods in teaching Arabic is the interactive immersion approach and its effectiveness as a global strategy in teaching Arabic. Therefore, examining the dimensions of this issue shows the importance of the present research. The current study was written with the aim of introducing and expressing the importance of teaching Arabic language through interactive immersion method. The results of the research show that the interactive immersion method is one of the most efficient methods in teaching Arabic and can be implemented as part of the Arabic education curriculum.

Defamiliarization involves infinite techniques that distinguish literary language from colloquial and ordinary language. Sometimes these tricks and arrangements lose their ability to induce concepts due to their frequent and repetitive application, and the artist's job is to activate the art of disabled structures through new systematization and personal rhetoric. One of these works of art is image, which, rhetorically formed, distinguishes literary language from ordinary and everyday language. Image is one of the most widely used terms in literary criticism, it has long been used in rhetoric, and it is one of the most important topics in contemporary literary criticism. The Arabic poetry has many capacities in this field, and poets have always used this capacity to enrich their poetry. But the quality of the image differs from classical to modern poetry. The classical poet depicted exactly the same objects in his poetry and did not try to decipher these images, while the contemporary poet is able to break away from the traditions of depicting the ancient Arabic poetry and sometimes create surprising similes using surrealist techniques. The surrealists who sought it were taught by Burton. He went to the depths of the human mind that he was unaware of. Ezedin Ismail is one of the famous Egyptian critics who has examined the image of new poetry in the form of issues and artistic aspects. 

Accordingly, the present study seeks to extract his views in this field by a descriptive-analytical method and a critical approach. The questions to answer regard Ezedin's view of poetic images as compared to the image of arts such as painting, music and cinema. The questions are ‘what are the commonalities and differences of poetic and ordinary images?’ and ‘what are the functional differences between the artistic images in ancient poetry and contemporary poetry?’

The title "Theory and adaptation" can be applied to his method of criticism in this field. In the first part, he presents his opinion and then applies the corresponding theories to sample works. His studies in this field are remarkable. Inspired by surrealist views in literary criticism, he has expressed the characteristics of the poetic image and compared it with the image of other arts. He has also examined the difference between the functions of images in classical and modern poetry. The main purpose of writing the present research is to introduce this great critic to the scientific community and researchers of literature. The critical views in this respect can provide favorable conditions for comparative critical research. Another importance of this research relates to new literary theories in the field of poetic imagery and critical views of Ezedin. Considering the emergence of different schools and their treatment of various arts such as painting, cinema and sculpture, and the sharing of these arts with poetry in the image, contemporary critics believe that it is important to study the image.

The results of this research show that a poetic image is distinguished from other artistic images in terms of spatio-temporal, sensory and expressive characteristics. Also, new poetic images differ from classical poetic images. The psychological approach is the main approach of literary criticism in all the works and critical subjects of Ezedin. It seems that his attitude towards the poetic image is a combination of psychological and aesthetic approaches, which and can be called "theory and adaptation". One of the most important issues that Ezedin Ismail stated under the influence of surrealist ideas about poetic imagery is that the poetic imagery simultaneously has a spatial-temporal structure that does not fit into the logic of time and natural space; it has distinctions from other art images. In his view, the images in classical poetry and modern poetry are different. The image in classical poetry shows the object directly and its distinctive feature is clarity and explicitness, but, in the image of new poetry, the poet gives time and place a special mental structure that is compatible with the emotional state of the poet and is the result of his dreams, desires and thoughts. Also, in his opinion, classical poetry as much as modern poetry has not been able to create a single spatial and temporal coherence between distant images, and new poetic images, based on classical poetry, are based on a kind of heterogeneity, contradiction, contradiction and fantasy. The contemporary poet does not regulate the experience of others nor his consciousness and the content of his intellect and memory, but depicts inner revolutions and uncontrollable emotions. The results of such situations are strange similes and metaphors and unknown images, the components of which cannot be found in the form of similes and metaphors.

Ezeddin Ismael is one of the critiques who is renowned to have a cognitive psychologically oriented approach in the contemporary Arab literary criticism and to have a special place. His most important work in this field is the book "al-tafsir al-nafsi leladab". His studies have been conducted in three domains: literary analysis, artist's personality analysis, and the study of the process of creating literary work. Given the fact that today the effective psychological foundations of the literary creativity process as well as the psychoanalytic analysis of literary personality are of the essence in the literary criticism studies, it is necessary to scrutinize the views held by Ezeddin Ismael as both a critique and as an authoritative pundit in this realm. Therefore, this research aimed at probing the views of Ezeddin Ismael through a descriptive-analytical lens. Moreover, it aimed to investigate the following questions: from his perspective, to what extent the psychostimulants affect the literary creativity? What roles the psychoanalytic analysis of the literary person play in his view? The results of this study unveiled that using cognitive psychology in the critique of literary works, he has come to believe that although some of the psychological stimuli such as neurosis, narcissism, intelligence and insanity—to some extent—contribute to the creation of literary works, their impacts seem to be infinitesimal. Notwithstanding, in his opinion, the analysis of the character of Adib contributes to the understanding of literary work as such that for instance analyzing the psychoanalysis of the character of the ancient Arab poets, we can elicit or discern some of the weaknesses or shortcomings of the literary genre of drama in the ancient Arabic literature.

Tradition and modernism are among the most important components of contemporary literature. The tradition in literature is the set of literary practices that have emerged and accumulated over the course of literary development of every ethnic group. Modernism, or literary modernism, is also a term sometimes used against literary tradition, denoting a break with existing traditions, rules and conventions, and new ways of looking at various literary issues, and sometimes means renewing tradition. Accordingly, the great tension between the adherents of literary tradition and modernism in the twentieth century has led to the emergence of the discourse of "tradition and modernism" in contemporary literary criticism. Contemporary Arabic and Persian literary criticism also welcomed this issue. Critics emphasize the contradiction and, in general, the connection between the legacy of the past and modern and modern works, as they see many benefits in this connection, and the result of these conflicts is nothing but the dynamics of literature and literary criticism. Many contemporary Arabic and Persian literary critics, including Ezeddin Ismael and Mohammad Reza Shafiei Kadkani, have addressed it. The two literary figures emphasize the positive influence of interaction between tradition and modernism and the necessity of the function of tradition in contemporary Arabic and Persian poetry, based on literature and ancient literary critique of Arabic and Persian. Similarities and differences in the views of these two critics are also due to tendencies, attitudes, environment, field of growth, and the dominant atmosphere of the thoughts of the two writers. On the other hand, the common cultural roots of them, especially in the field of literary criticism, have brought them, at least in the attitude towards the subject of interaction between tradition and modernism. This has necessitated a review and comparison of their criticisms. Here, by relying on descriptive-analytical method, tried to review the criticisms of these figures regarding the necessity of continuing the literary tradition in contemporary Arabic and Persian poetry. The question here is that the how these people view presence of literary tradition in contemporary Arabic and Persian poetry? Also, if they found the interaction among these schools as interactive or opposite? The result of this study showed they experienced both the tradition and the modernism. In most of their researches, by respect to the principles of tradition they found modernism in interaction with tradition. They always believe that tradition and innovation are two aspects of the continuity of a nation's culture or a nation, for tradition to continue, it must evolve with the help of innovation, and innovation can only be understood by turning to one tradition. Innovation without tradition and tradition is lacking in historical and social objectivity. They believe that in literature, tradition and innovation are two vital and indispensable factors. It can be argued that almost all the attention to tradition and its importance is clearly seen in all works of these two critics. In the face of modernism, both critics have an almost unified experience. Both believe that the process of modernizing poetry must be broken, but not in the sense of abandoning tradition, but of modernity. The two critics argue that the contemporary poet's relationship to tradition is a pervasive one and a conscious acquisition of the human-historical meaning of tradition, not merely the influence of tradition. Thus, the contemporary poet's attitude to tradition chooses positions that are permanent and enduring, whether that is a requirement of the classical approach or whether it is augmented by the poet himself. They want a renewal that is in line with the literature of the past and disconnecting from the past is not a good thing. They also see bigotry as a dangerous thing, because the past and the present must follow and recognize each other's boundaries.

Metadiscourse analysis is a kind of linguistic analysis that drags reader to beyond text and provides cooperative communication between reader and writer. In this field, Ken Hyland with providing of metadiscourse theory pattern has expressed a wide range to better understand for participatory communication between attitude of reader and author of the text. In this theoretical framework, writer has been used from metadiscourse different tools such as positive and negative attitudes (characters such as eloquent and weak), hedges (words such as May) and boosters (constraints such as inevitably) to express the values of a phenomenon, the doubts and certainty of a transmission. Study of criticism books based on this pattern is a criterion for determining of way critics attitude. This study try to investigate linguistic-rhetorical of »FY aladab e alabbsi, alroyat va alfan« book; Ezaddin Esmaeel’s work, with descriptive-analytical way and based on Hyand’s metadiscourse pattern. Results of study are that high percentage of linguistic categories in the following order: citations with 451 and transitions 335, demystify 324, collective self-mention 269 and interactive resources 246. This linguistic analysis implies to this work that writer has been provided most important role of reader beside himself.

Studying the critical thinking of critics, though plentiful, is not enoughyeto Such study offers the reader the course followed by the critic and his starting points of literary vision. Critic Izzuldin Ismaiel has produced a big volume of work. He is one of the pioneers that played a prominent role in featuring the modern poetic verse in Egypt and other Arab countries. His Book "Contemporary Arabic Poetry: Its Issues and Technical Aspects", though old, is still considered the constitution that outlines this movement. This Research discusses this ideas of the critic in his book, endorsing some and disagreehng with others. The critic has presented a description of Modern Poetic movement both in its topics and in techniques. There has been some disagreement with this scholar on some cases; but this is something normal as the passage of time make it inevitable.