المُفارقة الدرامية في شعر مُريد البرغُوث

Elgebily Salaheldin 한국아랍어아랍문학회 2014 아랍어와 아랍문학 Vol.18 No.2

Modern Arabic Poetry has always been detached from the distant past in form and content. It has considered old poetry a product of a bygone era in which the ancients worked as hard as they could to produce their experience that was a legitimate child of their age, not as poetic templates or sanctities that cannot tolerate discussion. Modern poets have realized that communicating with the past does not happen through copying ancient poets, or living their lives, but rather through the study of their experience, understanding it and trying to benefit from it, and then starting a new experience which fits the era in which it was born. Modern poetry began to benefit from the various Arts of literature and it could utilize new techniques from all arts in a phenomenon that could be called "interaction of Arts". Poetry started using the techniques of cinematography, short stories, novels and drama. Modern poetry has become open to all arts that could provide it with distinct experiences. This would not have happened if modern poets hadn't dared to rebel against the strict rules which tightened its grip on the old Arabic poem. This research is an attempt to monitor models of dramatic irony employed by the poet Mourid Barghouti to benefit from an art technique which, in its turn, would convert the poem from one sound and one feeling to multiple sounds and contradictory feelings. Mourid Barghouti has been able rely on theatrical arts, such as dramatic conflict, polyphony and irony, in order to earn his poem the depth that fits the era in which we live. This research does not only trace examples of different types of irony, but it will also monitor models of irony and its impact on the structure of the poem and how successful the poet was in employing them. The experience of Mourid Barghouti is a vivid one that does not impose any prior models on the poem. Thus, he could escape a trap that most poets, who tried to interact with the Palestinian cause, fell in, their poetry resulting into something like a political announcement, which is filled with screaming and empty of poetry.

The Modern Arabic Poetry between The Changes of Structure and The Social Transformations

( Elgebily Salaheldin ) 한국외국어대학교 중동연구소 2014 중동연구 Vol.33 No.1

The Second World War was the beginning of many changes in the Arab World on political, economic, and social levels. These changes have extended to include all aspects of life. It can even be said that the changes the Arab World has seen through the twentieth century are as equally huge as all the changes it has faced in all its old eras. Naturally, arts responded to these changes. This research tackles the dramatic changes in the structure of Arabic Poetry in form, which are an automatic response to forms of mobility which have hit the Arab World at the time. It monitors the close relationship between the social transformations and the changes in arts, especially Poetry. The research also tackles the new developments which urged the modern Arab poet to revolute on meter and rhyme and what can be summed up in the expression “columnar poetry”. Columnar poetry has dominated the structure of the Arabic poem through the old eras and it has never been affected. The only obvious change can be seen in the “Andalusian Muashah”. It represented an important rhythmic development which occurred when the Arabs moved from the Arabic Peninsula to Western Europe. This research observes the philosophy of the modern Arabic poet in writing against the traditional Arabic meters and the function of rhythm and form in poetry. It also tries to approach “the prose poem” which caused a lot of debates between critics and to study the phenomena of Abstraction and Experimentation in modern Arabic poetry.

The Phenomenon of Obscurity in The Modern Arabic Poetry

Elgebily, Salaheldin 한국아랍어아랍문학회 2021 아랍어와 아랍문학 Vol.25 No.1

This research is a critical study on the phenomenon of obscurity in the modern Arabic poetry. At the beginning of the research it was pointed out that the phenomenon of obscurity in the Arabic poetry began with the poets born in the Abbasid era who were known as the tropes (Badi) poets . The research links between the obscurity of modern poetry and the movement of modernism in the world literature. The obscurity of ancient poetry comes from the difficulty of the words, while the obscurity of the ancient poetry is the result of the poetic vision and discourse. Salah Abdel Sabour believes that the task of the modern poet is to restore the language of Arabic poetry as it was in the past, the language of daily life. As for Adonis, he believes that the Arab society lives in a time of backwardness, and the poet is required to shake him and not reconcile with him, because this will keep these audiences in backwardness.

Two Modern Arab Poets in The Face of Power

( Elgebily Salaheldin ) 한국외국어대학교 중동연구소 2016 중동연구 Vol.34 No.3

The relationship between authority and literature has been one of the closest relations since they both started. This relationship originated in the moment when the political power realized the great importance of poetry in all times, especially ancient times. Politicians have realized the importance of poetry and its significant role in supporting political systems, promoting and defending them, or in opposing and standing up to them. Politicians know that however long they live, they are to the demise. Thus, it was necessary for them to find a way to record their glories. Sayf al-Dawla al-Hamadany, for instance, never thought that the poems of al- Mutanabi will eternalize him in history books. And were it not for his poems, the history of Sayf al-Dawla al-Hamadany would have been only a few lines in history books. The role which poetry played in ancient times is similar to the role played by the mass media in modern times; for example: the mobilization of masses, and the formation of each detail of their lives in food, drink and clothing, that it became so clear in recent years that these means have absolute control over humans. On the other hand, the relationship between poetry and politics has also begun in the moment when poets realized the great importance of politicians like kings, princes, leaders and retinue, and their infinite influence on humans. The poet - a human being first and foremost - has realized that approaching politicians may result in the stability of the poet in the security zone next to the ruler, which could keep him out of the circle of danger in which the public are situated. Approaching the authority means getting gifts, grants, and funds that the ruler bestows upon the people around him. Moreover, the poet acquires influential power and broad sectors of people would listen to him. It also means that the poet would become the authority`s spokesperson or would give an account of its news and promote its lies (glories). This poet must have thought at that moment of those who were run over by the train of the authority when they tried to stand up to its tyranny and dominance, those wretches who refused to be involved in the clique of flatterers, and preferred to raise the banner of rebellion and rejection. Those who did not succumb to the temptation of power and its gold, and were not frightened by its brutal sword that reaches all necks. Approaching the authority does not only mean that we are under its protection. It also means that we will be safe from punishment. This research is a brief attempt to understand the relationship between poetry and politics, and the enticements that mar it. It throws light over those rogues who raised the banner of rebellion, and declared their refusal to be controlled by the authority for one reason or another. And since such subject may take long periods to cover; I saw that it is better to stop at the milestones in the history of Arabic poetry. Thus, I stopped at those who are called the poets of rebellion and rejection, those who stood in the face of the authority and refused to be its poets. Some of them even paid their lives for their choice, while the others lives were kept, but they were morally assassinated when they were marginalized and had to live on the outskirts of society, outcasted by the authority and the hypocrites around it.

The Dramatic Irony in the Poetry of Mourid Barghouti

ELGEBILY SALAHELDIN ABDELAZIZ ALI 한국아랍어아랍문학회 2014 아랍어와 아랍문학 Vol.18 No.2

Modern Arabic Poetry has always been detached from the distant past in form and content. It has considered old poetry a product of a bygone era in which the ancients worked as hard as they could to produce their experience that was a legitimate child of their age, not as poetic templates or sanctities that cannot tolerate discussion. Modern poets have realized that communicating with the past does not happen through copying ancient poets, or living their lives, but rather through the study of their experience, understanding it and trying to benefit from it, and then starting a new experience which fits the era in which it was born. Modern poetry began to benefit from the various Arts of literature and it could utilize new techniques from all arts in a phenomenon that could be called "interaction of Arts". Poetry started using the techniques of cinematography, short stories, novels and drama. Modern poetry has become open to all arts that could provide it with distinct experiences. This would not have happened if modern poets hadn't dared to rebel against the strict rules which tightened its grip on the old Arabic poem. This research is an attempt to monitor models of dramatic irony employed by the poet Mourid Barghouti to benefit from an art technique which, in its turn, would convert the poem from one sound and one feeling to multiple sounds and contradictory feelings. Mourid Barghouti has been able rely on theatrical arts, such as dramatic conflict, polyphony and irony, in order to earn his poem the depth that fits the era in which we live. This research does not only trace examples of different types of irony, but it will also monitor models of irony and its impact on the structure of the poem and how successful the poet was in employing them. The experience of Mourid Barghouti is a vivid one that does not impose any prior models on the poem. Thus, he could escape a trap that most poets, who tried to interact with the Palestinian cause, fell in, their poetry resulting into something like a political announcement, which is filled with screaming and empty of poetry.

Two Modern Arab Poets in The Face of Power

ELGEBILY SALAHELDIN ABDELAZIZ ALI 한국외국어대학교(글로벌캠퍼스) 중동연구소 2016 중동연구 Vol.34 No.3

أصبحت السياسة ضيفًا دائمًا على مائدة العربي، فمنذ قيام الثورات العربية في العام 2011 وهي تختلط بكل شيء، حتى الهواء الذي نتنفسه. وقد أصبح طبيعيا جدا أن يتأثر الشعراء والباحثون بهذه الأحداث، بل وتنعكس على أعمالهم في الإبداع والنقد في هذه الأيام. وهذا البحث يدرس العلاقة بين الشعراء والسلطة السياسية في العصر الحديث، لقد اخترت شاعرين من كبار الشعراء المحدثين وأشهرهم، وهما مظفر النواب ومحمد الماغوط، وكم كنت أتمنى أن تمتد الدراسة كي تشمل شعراء آخرين من هذا العصر، بل ومن عصور قديمة، لكني رأيت أن هذا سوف يخرج الدراسة عن المساحة المناسبة لها كي تنشر في مجلة أكاديمية. المهم أن هذه الدراسة تتناول الاتجاه السياسي في الشعر عند كل من الماغوط والنواب، لكنني قبل أن أقوم بدراسة الشاعرين كان يجب أن أتوقف عند علاقة الشعر بالسلطة السياسية. وقلت إن العلاقة بين الشعر والسياسة قديمة جدا، قديمة قدم كل منهما، لقد أدرك الشعراء والسياسيون حاجة كل منهما إلى الآخر، فاقتربت السياسة من الشعر لأن الشعر كان جهاز الإعلام الوحيد في تلك العصور الذي يسجل أمجاد السياسة ومعارك الحكام لكي يضمن لهم الخلود الأبدي على ألسنة الناس. كما كان الشعر في احتياج إلى السياسة لأن السلطة قوة والشاعر في احتياج إلى هذه القوة كي يستمد نفوذه منها أو على أقل تقدير لكي يتجنب الأذى الذي كان يمكن أن يلجق به عن طريقها. وكان عليَّ أن أتوقف عند مفهوم الأدب الثوري كمصطلح أدبي، وفرقت بين معنى الثورة ومعنى الاحتجاج أو التمرد أو الرفض. وقلت إن الثورة أشمل من كل هذه المعاني لأن الشاعر الثوري هو الشاعر الذي يمتلك رؤيا متكاملة ضد السلطة القائمة ولا يتوقف فقط عند فعل الاحتجاج. إن معنى هذا أن كثيرًا من الشعر المحسوب على الثورة لا يمكن أن يكون ثوريًا لأن الثورة بالنسبة له هي ألفاظ الحماسة والنضال التي يستخدمها هؤلاء الشعراء من أجل إثارة الجماهير في لحظة ما، بينما يظل هؤلاء الشعراء في حقيقة الأمر بعيدين كل البعد عن المفهوم الحقيقي للثورة، كما تحدثت عن أولئك الشعراء الذين يتعاملون مع الإيقاع بوصفه مجرد أدراج فارغة عليه أن يملأها بالكلمات، يطلب من الجماهير أن تثور على كل قيود الاستبداد بينما قصيدته تظل راضخة للقيود الصارمة التي تفرضها التقاليد الأدبية. لا يمكن لشاعر أن يكون ثوريا حقيقيا ما لم تثور قصيدته نفسها على تقاليدها البالية. ثم ناقشت – في عجالة – معنى الالتزام في الأدب، وقد رفضت ما قالت به الماركسية من التزام الشعر التزاما فكريا بحيث يكون وسيلة للثورة كأي وسيلة أخرى، كما أنني رفضت مفهوم سارتر ونازك الملائكة اللذين أخرجا الشعر من الال... The relationship between authority and literature has been one of the closest relations since they both started. This relationship originated in the moment when the political power realized the great importance of poetry in all times, especially ancient times. Politicians have realized the importance of poetry and its significant role in supporting political systems, promoting and defending them, or in opposing and standing up to them. Politicians know that however long they live, they are to the demise. Thus, it was necessary for them to find a way to record their glories. "Sayf al-Dawla al-Hamadany", for instance, never thought that the poems of "al- Mutanabi" will eternalize him in history books. And were it not for his poems, the history of "Sayf al-Dawla al-Hamadany" would have been only a few lines in history books. The role which poetry played in ancient times is similar to the role played by the mass media in modern times; for example: the mobilization of masses, and the formation of each detail of their lives in food, drink and clothing, that it became so clear in recent years that these means have absolute control over humans. On the other hand, the relationship between poetry and politics has also begun in the moment when poets realized the great importance of politicians like kings, princes, leaders and retinue, and their infinite influence on humans. The poet - a human being first and foremost - has realized that approaching politicians may result in the stability of the poet in the security zone next to the ruler, which could keep him out of the circle of danger in which the public are situated. Approaching the authority means getting gifts, grants, and funds that the ruler bestows upon the people around him. Moreover, the poet acquires influential power and broad sectors of people would listen to him. It also means that the poet would become the authority's spokesperson or would give an account of its news and promote its lies (glories). This poet must have thought at that moment of those who were run over by the train of the authority when they tried to stand up to its tyranny and dominance, those wretches who refused to be involved in the clique of flatterers, and preferred to raise the banner of rebellion and rejection. Those who did not succumb to the temptation of power and its gold, and were not frightened by its brutal sword that reaches all necks. Approaching the authority does not only mean that we are under its protection. It also means that we will be safe from punishment. This research is a brief attempt to understand the relationship between poetry and politics, and the enticements that mar it. It throws light over those rogues who raised the banner of rebellion, and declared their refusal to be controlled by the authority for one reason or another. And since such subject may take long periods to cover; I saw that it is better to stop at the milestones in the history of Arabic poetry. Thus, I stopped at those who are called "the poets of rebellion and rejection", those who stood in the face of the authority and refused to be its poets. Some of them even paid their lives for their choice, while the others lives were kept, but they were morally assassinated when they were marginalized and had to live on the outskirts of society, outcasted by the authority and the hypocrites around it.

إشكالية الشعر والسياسة في العصر العباسي: أبو نواس "الحسن بن هانئ" نموذجًا

ELGEBILY SALAHELDIN ABDELAZIZ ALI 한국아랍어아랍문학회 2019 아랍어와 아랍문학 Vol.23 No.4

This research is the second approach that is related to the poet Abū Nuwās Al-Hassan Ibn Hani through the sociology of literature. This paper examines the connection between Abū Nuwās and the rulers of his time. The research begins by examining the very special relationship between lyric Arabic poetry and political power through the time. I certainly do not mean to study all this period of the age of Arab poetry, but I claim in this research that the vast majority of Arab poets were subject to the authority of the rulers and afraid of their oppression. Few Arab poets are known to rebel against their kings and rulers. I give a very significant and famous example about Al-Nābighah Al-Dhubyānī - the pre-Islamic poet - and King Nu'man Ibn al-Mundhir. Poems are transformed into industry and craft for material profits. Then I study the origins of Abū Nuwās and the effects that influenced his poetic composition and his personality such as his alienation within the Arab society because of his non-Arab Persian origins, as well as to refer to his wide culture and knowledge of much of the science of his time, and his relationship with the Caliph Harun al-Rashid in Baghdad, and the impact of the city of Baghdad on his behavior and his vision of poetry. In the end, I study the relationship of Abū Nuwās and Caliph al-Amin. Abū Nuwās was a close friend of the Caliph al-Amin and is known to have always drunk wine with him. I finally conclude the research by summarizing the most important results. هذا البحث يطمح إلى رسم صورة شبه كاملة حول طبيعة العلاقة بين أبي نواس والقيادة السياسية في ذلك الوقت. لقد كان أبو نواس شاعرًا شهيرًا، وكان الاقتراب من الطبقة الحاكمة يوفر له الشهرة الواسعة والنفوذ بين الناس، وكان أهل السياسة في احتياجٍ إلى مدائحه، فكانت العلاقة بين أبي نواس وكلٍ من الرشيد وابنه الأمين قائمةً على هذه المنفعة. كان المطلوب من أبي نواس أن يتلطَّف مع الرشيد بالحكايات والمدائح، كما كان مطلوبًا منه بعد ذلك أن يشارك الأمين في الشراب واللهو. وكان مطلوبًا – في المقابل- من النخبة الحاكمة أن يُجْزِلوا له العطاء، وبالفعل كان أبو نواس على رأس الشعراء الذين اكتسبوا تقديرا كبيرا وحصلوا على هبات كثيرة. كما ندرك من الروايات السابقة أن هؤلاء الملوك كانوا يتمتعون بذائقة شعرية جعلتهم يجادلون النقاد واللغوين حول أفضلية الشعراء، صحيح أنهم كانوا لا يعللون أحكامهم، لكن اختياراتهم في الشعر كانت تدل على فهم وحب للشعر. لكن يظل أبو نواس واحدًا من التجارب المميزة في الشعر العربي. هو الشاعر العربي الذي حرر الشعر من التقاليد الصلبة التي كان ترسف في أغلالها الشعراء العباسيون الذين يسكنون المدن ويشربون الخمر، كانت تلك القواعد تلزمهم بأن يبدأوا القصيدة بالوقوف على الأطلال التي كان يقف عليها الشاعر البدوي، وكأن طبيعة العصر الذي يعيشون فيه لا تؤثر في الشعر. رفض أبو نواس أن يكون الشعر بعيدًا عن الحياة. أعاده إلى الناس، أعاد أبو نواس الشعر إلى الحياة، وصار الشعر تجربة معبرة عن الحياة الواقعية التي يعيشها الناس، وصار شعر أبي نواس صورة مضيئة لنفسه وللعصر الذي كان يعيش فيه. لا أقصد أن يكون الشعر مجرد مرآة تعكس أحداث العصر، لكنني أقصد أن أبا نواس قد غير في بنية القصيدة العربية، وأضاف إلى موسيقاها ذائقة جديدة لم تكن موجودة من قبل، كما غير في بنائها وصورها وترتيب أغراضها. صحيح أنه مسبوق بتجارب شعراء متميزين أمثال العذريين في العصر الأموي، وأمثال بشار بن برد الذي كان من مخضرمي الدولتين الأموية والعباسية، لكن أبا نواس شاعر مختلف، قدَّم تجربة مختلفة، ولهذا ما زال شعره حيًّا إلى. يومنا هذا وسوف يعيش في المستقبل بإذن الله.

The Problem of Poetry and Politics in the Abbasid Era: Abu Nuwās “Al-Ḥasan Ibn Hānī” as a Study Case

( Elgebily Salaheldin ) 한국아랍어아랍문학회 2019 아랍어와 아랍문학 Vol.23 No.4

This research is the second approach that is related to the poet Abu Nuwās Al-Hassan Ibn Hani through the sociology of literature. This paper examines the connection between Abu Nuwās and the rulers of his time. The research begins by examining the very special relationship between lyric Arabic poetry and political power through the time. I certainly do not mean to study all this period of the age of Arab poetry, but I claim in this research that the vast majority of Arab poets were subject to the authority of the rulers and afraid of their oppression. Few Arab poets are known to rebel against their kings and rulers. I give a very significant and famous example about Al- Nābighah Al-Dhubyānī - the pre-Islamic poet - and King Nu'man Ibn al- Mundhir. Poems are transformed into industry and craft for material profits. Then I study the origins of Abu Nuwās and the effects that influenced his poetic composition and his personality such as his alienation within the Arab society because of his non-Arab Persian origins, as well as to refer to his wide culture and knowledge of much of the science of his time, and his relationship with the Caliph Harun al-Rashid in Baghdad, and the impact of the city of Baghdad on his behavior and his vision of poetry. In the end, I study the relationship of Abu Nuwās and Caliph al-Amin. Abu Nuwās was a close friend of the Caliph al-Amin and is known to have always drunk wine with him. I finally conclude the research by summarizing the most important results.

The Commitment Issue in the Modern Arabic Poetry

ELGEBILY SALAHELDIN ABDELAZIZ ALI 한국외국어대학교(글로벌캠퍼스) 중동연구소 2022 중동연구 Vol.40 No.3

This research is a brief study on the meaning of commitment in poetry. In the introduction I study the opinion of both Plato and Aristotle on the function of poetry. Plato attacks poets and expels them from his virtuous city because their poetry represents a danger to the masses and the gods, while Aristotle believes that poetry and arts perform a great task, which is “purification”. Then, I refer to the statement of Caliph Omar Ibn Al- Khattab when he said that Arabic poetry was a knowledge for people who did not possess any other knowledge. Later I study Sartre's opinion on the commitment of poetry, he excludes fine arts, music, and poetry from the circle of commitment because he thinks that poets use language in a way that is incompatible with it. Likewise, Nazik al-Malaikah believes that commitment to poetry would make poetry fall into the trap of ideology and political propaganda. The research discusses the opinion of the critic and poet Salah Abdel- Sabour on commitment in poetry. He believes that the poet cannot escape the idea of obligation; because every true poet looks at the world and does not like it, and carries within him the desire to reform the world. Abdel-Sabour differentiates between “ethics” and “values.” Poetry - in his opinion - does not call for ethics, but for values, which is a word that is higher and broader in meaning. The research also discusses the opinion of the Syrian poet and critic Ali Ahmed Saeed (Adonis). Adonis believes that true poetry and a true poet can only be revolutionary, and every poetry that calls for revolution must first revolt against the old traditional systems and frameworks.

تَدْرِيسُ النصِّ الأدبيِّ للطلاب غير الناطقين بالعربية: مشكلاتٌ واقتراحاتٌ

Salaheldin Elgebily 한국아랍어아랍문학회 2024 아랍어와 아랍문학 Vol.28 No.1

This research assumes that non-Arabic speaking students must study literary text if they want to learn about Arab culture and civilization, in addition to learning about traditions in different Arab environments. The language is not just simple conversations, it is a complete cultural heritage, and when the student is limited to learning grammar and translation, he loses an important source of Arab culture. The research also emphasizes the importance of balance between different branches of the language and stresses the importance of choosing texts appropriate to students’ environments and cultural values. Then the research stops at the goals that can be achieved when teaching literary text, where the student learns about Arab and Islamic culture through literature, studies different literary genres such as poetry, stories, and novels, learns about the most important sources of ancient and modern Arab civilization, and learns the different eras of Arabic literature and the difference between them and literature. to which they belong. the research attempts to identify the most important problems facing teaching Arabic literature to non-Arabic speakers. Some of these problems are related to the teacher of Arabic to non-Arabic speakers, the process of selecting texts, and the nature of the students themselves. At the end of the research, I analyze an applied model of a literary text. I chose a text by the Palestinian poet Mahmoud Darwish to explain the necessary steps for analyzing the text to non-Arab students.