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한국아랍어아랍문학회> 아랍어와 아랍문학> الرجز بين القياس والتذوّق قراءة في الموروث العروضيّ والنقديّ

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الرجز بين القياس والتذوّق قراءة في الموروث العروضيّ والنقديّ

Rajaz poetic meter: a canonical and receptive point of view

ناطحقدعسأيمركلادبع ( Abdul Kareem Asaad Qahtan )
  • : 한국아랍어아랍문학회
  • : 아랍어와 아랍문학 23권1호
  • : 연속간행물
  • : 2019년 02월
  • : 43-89(47pages)

DOI


목차

ةمدقم. I
ديهتم .II
رعشلاو ةغللا ينبزجرلا موهفم .III
ضيرقلاو زجرلا ينب .IV
ديصقلاو زجرلا ينب .V
ةعجارم .VI
يرعشلا باطلخا تلاوتح نمض قوذتلاو زجرلا .VII
ةصلالخا .VIII
عجارلماو رداصلما

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초록 보기


						
This research consists of a preface, an introductory chapter, a discussion of the topic along with analysis of its proceedings, evaluation of the results, as well as summary and presentation of the sources and references that the researcher utilized.
The preface explores the reasons of conducting this research on Rajaz. In fact, Rajaz, either in its meter or rhyme, has been extensively tackled in many discussions in the ancient and modern monetary heritage. These discussions were concerned with much of its traits such as the reason of naming it like so, its structure, its position with regard to the chronological arrangement of the other measures of Arabic poetry, its relation to both concepts of al-Qareed (poetry) and Qaseed (poem), as well as the aesthetical value of Rajaz poetry compared to the poetry of other meters.
These discussions, however, are reviewable in terms of their content and results. That is why this research is valuable and significant.
The introductory chapter reviews the concepts, terms and mechanisms to be adopted in this research justifying their usability and validity in achieving the convincing results.
Tackling this topic and analyzing its proceedings, the researcher began with discussing the meaning of Rajaz literally and technically, its relation to the meaning of al-Qareed (poetry) and al-Qaseed (poem), as well as discussing the rhythmic structure of Rajaz in the various stages of the Arabic poetry rhetoric improvement. The researcher discussed also the critics’ perceptions about the aesthetical value of Rajaz poetry and evaluated this value in light of the prevailing poetic rhetoric and in its transformations along the historical course. He then ended up with a result that Rajaz is like the first meter in the history of the Arabic-poetic rhythm; the origin from which the other poetic meters in all stages of the Arabic poetry were derived.
The notion of al-Qareed (poetry), that was used in a later stage of the improvement of Rajaz, was related to the structure of the two-hemistich line (of poetry), either in Rajaz or other meters that developed thereafter, as it was a measure to the first structure of Rajaz embodied in the two-hemistich line, while the notion of al-Qaseed was related to the form that may represent the notion of the poem. However, the difference of the level of its impact in old and modern times is explained according to its structure compared to the other meters and its relation with the functions of the rhythm in the poetic rhetoric. The functions of the poetic rhythm are determined by warble, tension and expressing the meaning. These are interrelated functions, though each of them has its measurable limitations imposed by the prevailing rhetoric, and it seems to be a dominant function over the other functions.
There are two kinds of eloquence that dominated the rhetoric of the Arabic poetry, namely: Oral Eloquence, which prevailed in the old and traditional poetry and Written Eloquence, which prevailed in modern poetry. Between these two kinds, the Romantic Poetry represents a midway or a transition between these two distinctive stages of the development of the Arabic poetic rhetoric. When it comes to Oral Eloquence, the positive value of the poem was to be determined by its ability to achieve quick and immediate aesthetic response by the recipients. That is why Oral Eloquence requires taking care of the sound to the greatest degree; and therefore, the function of musicality dominated. Rajaz poetry is the poorest meter to achieve this function. That is because it is a simple meter that is built on the repetition of a single rhythmic unit that is not composed with another unit(s). This made the highly-cohesive compound meters- on the top of which is al-Taweel meter- clearly dominant. When the dominance was assumed by the Written Eloquence that necessitates the poem to take intensive care of the meaning, as the structure of the line and the hemistiches was overstepped therein to the structure of the foot (of a verse meter). This was made at the expense of taking care of the function of musicality. Thereupon, Rajaz had its considerable impact like the other meters that depend on the repetition of a single or a simple compound unit.

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간행물정보

  • : 어문학분야  > 아랍어문학
  • : KCI등재
  • :
  • : 계간
  • : 1229-0882
  • :
  • : 학술지
  • : 연속간행물
  • : 1997-2019
  • : 334


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It is very difficult to prepare content lessons in different fields. The display of vocabulary is the most important aspect when preparing the content. If it is displayed perfectly, the results of the class, the output, will be improved. In this research, the researcher analyzed the way in which vocabulary was displayed in the text book "ملكتن ایھ" which is commonly used to teach Korean high school students Arabic. The researcher chose to analyze the selection of the vocabulary because vocabulary is the basis of other elements such as sounds and structures. This research is structured as follows. First, researcher defines "vocabulary" and explains how vocabulary words are chosen. Then, the researcher provides details about vocabulary and methods of optimal presentation in the units of the curriculum. Next, the researcher analyzes the book "ملكتن ایھ" and the book's methods of presentation for the vocabulary. Lastly, the researcher presents the findings of this investigation

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This article focuses on saj'(rhymed prose) which appears in Maqamat, a literary work by al-Hamadhani. Many scholars including Shawqi Dayf and Roger Allen highly value Maqamat, citing saj' as a major factor in evaluating this book. Maqamat was translated into English by W.J. Predergast. In the preface of the translated book, W.J. Predergast commented that al-Hamadhani expanded the use of saj' by adopting it in dramatic discourses. As such, saj' is one of the key elements of Maqamat; yet, there have been relatively few independent studies on it. For this study, I examined how much saj' was used in each Maqamah. I measured how many times it appears in each Maqamah, then calculated the ratio of it. As a result, I found that saj' was used in all 51 Maqamat, while there weren't even any poems in 7 Maqamat. In particular, there were as many as 13 Maqamat, in which saj' was used more than 30%. Saj' was used more frequently in Maqamat than in previous prose such as letters and speeches. It was most often used to describe objects, phenomena, and states of being, mostly to rhyme lines.

3الرجز بين القياس والتذوّق قراءة في الموروث العروضيّ والنقديّ

저자 : ناطحقدعسأيمركلادبع ( Abdul Kareem Asaad Qahtan )

발행기관 : 한국아랍어아랍문학회 간행물 : 아랍어와 아랍문학 23권 1호 발행 연도 : 2019 페이지 : pp. 43-89 (47 pages)

다운로드

(기관인증 필요)

초록보기

This research consists of a preface, an introductory chapter, a discussion of the topic along with analysis of its proceedings, evaluation of the results, as well as summary and presentation of the sources and references that the researcher utilized.
The preface explores the reasons of conducting this research on Rajaz. In fact, Rajaz, either in its meter or rhyme, has been extensively tackled in many discussions in the ancient and modern monetary heritage. These discussions were concerned with much of its traits such as the reason of naming it like so, its structure, its position with regard to the chronological arrangement of the other measures of Arabic poetry, its relation to both concepts of al-Qareed (poetry) and Qaseed (poem), as well as the aesthetical value of Rajaz poetry compared to the poetry of other meters.
These discussions, however, are reviewable in terms of their content and results. That is why this research is valuable and significant.
The introductory chapter reviews the concepts, terms and mechanisms to be adopted in this research justifying their usability and validity in achieving the convincing results.
Tackling this topic and analyzing its proceedings, the researcher began with discussing the meaning of Rajaz literally and technically, its relation to the meaning of al-Qareed (poetry) and al-Qaseed (poem), as well as discussing the rhythmic structure of Rajaz in the various stages of the Arabic poetry rhetoric improvement. The researcher discussed also the critics' perceptions about the aesthetical value of Rajaz poetry and evaluated this value in light of the prevailing poetic rhetoric and in its transformations along the historical course. He then ended up with a result that Rajaz is like the first meter in the history of the Arabic-poetic rhythm; the origin from which the other poetic meters in all stages of the Arabic poetry were derived.
The notion of al-Qareed (poetry), that was used in a later stage of the improvement of Rajaz, was related to the structure of the two-hemistich line (of poetry), either in Rajaz or other meters that developed thereafter, as it was a measure to the first structure of Rajaz embodied in the two-hemistich line, while the notion of al-Qaseed was related to the form that may represent the notion of the poem. However, the difference of the level of its impact in old and modern times is explained according to its structure compared to the other meters and its relation with the functions of the rhythm in the poetic rhetoric. The functions of the poetic rhythm are determined by warble, tension and expressing the meaning. These are interrelated functions, though each of them has its measurable limitations imposed by the prevailing rhetoric, and it seems to be a dominant function over the other functions.
There are two kinds of eloquence that dominated the rhetoric of the Arabic poetry, namely: Oral Eloquence, which prevailed in the old and traditional poetry and Written Eloquence, which prevailed in modern poetry. Between these two kinds, the Romantic Poetry represents a midway or a transition between these two distinctive stages of the development of the Arabic poetic rhetoric. When it comes to Oral Eloquence, the positive value of the poem was to be determined by its ability to achieve quick and immediate aesthetic response by the recipients. That is why Oral Eloquence requires taking care of the sound to the greatest degree; and therefore, the function of musicality dominated. Rajaz poetry is the poorest meter to achieve this function. That is because it is a simple meter that is built on the repetition of a single rhythmic unit that is not composed with another unit(s). This made the highly-cohesive compound meters- on the top of which is al-Taweel meter- clearly dominant. When the dominance was assumed by the Written Eloquence that necessitates the poem to take intensive care of the meaning, as the structure of the line and the hemistiches was overstepped therein to the structure of the foot (of a verse meter). This was made at the expense of taking care of the function of musicality. Thereupon, Rajaz had its considerable impact like the other meters that depend on the repetition of a single or a simple compound unit.

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