RAYS OF CRITICISM IN ARABIC AND PERSIAN
Year:2019 | Volume:8 | Issue:4 (32) |Papers Count:6

'commitment problem' is one of the most important problems for the contemporary literary critics and poets of Arab world. Surprisingly, literary researcher by deep study finds that the commitment has different senses for Arab literary critics and Arab poets. literary critics see it as an obligation to social affairs, whereas Arab poets put it in the vital sphere of the freedom of speech. The study of this problem of criticism is important because it shows the difference between literary criticism and poem and that the contemporary literary critic tries to criticize poems in terms of his/her critical desires not in terms of the poetic demands and needs of the poet. Why such a deep difference emerged between critical discourse and poetic one in Arab world? This article by use of a descriptive and analytic method and by reference to critics and poets ideas tries to answer the question. The results of the research shows that the contemporary Arab critic who relies on the ideas of western critics and their literary schools, specially literary socialism, proposes principles to evaluate Arabic poems, instead of speculating specifically Arabic poems and exploitimg critical rules from them. Thus, from his/her view point poet must be committed to social problems, specially social justice, whereas the Arab poet who is influenced from Sartrian ontological thought believes that he/she must be committed to freedom of speech and nothing more. This difference in the interpretation of a critical and literary notion as 'commitment' is speculative and deserves study to be clear why literary criticism is imitative and is not derived from the poems of Arab world, and why Arab critic imposes thoughts outside the literary text on the Arabic poems.

Arabian novel encounters the triple of sex, politics and religion from dramatic and symbolic perspectives, and sees that the politics and religion are the main motivations of sex function, because sex application in Arabian literature has not literary motives, but is a phenomenon that the author uses for the sex own sake or at least must be said that he wants to use sex as a surface property of the body in the novel to have denotative presence in Arabian fiction. thus, it is not possible to explore bodily significations without taking its cultural and social significations into account. Therefore, Ibn bakhit sees a relationship between bodily significations and various problems, among which is his believe that the sex in the fiction is a kind of insurgence against the conventional veil (hijā b) in the society which is in fact a symbol of the veil of thinking. So, we see in this novel only the background (of sex) which can be focal point for the raise of many problems. Therefore, this novel is analyzed on the basis of the sociological reflection theory. The result of the research is that the novelist insists on the homosexuality and illegal relations of all members of the society including children, so that sexual relations are the main motives of the people in this traditional society. The author took Shā ri al-atā yef (The Street of Affections) as a statistical society to analyze social disintegration in it. Because this street is the arena of struggles in Arabian society and its everyday social space, as if this street is backbone of Arabian society and the most important place for data processing of network of its social relations.

Narration is a cultural product that means in the frame of relation. Narration is a conversational phenomenon that has not any existence outside conversational and relational framework. 'sā q al-bā mbo' (The Bamboo Stalk) is represented in a cultural atmosphere accompanied with considerable capacity of expansion for this novel to be a convincing literary creation. In such a way that it can courageously manifests all inconsistencies and disintegrations of different individuals of every society. This novel could depict multiplicity by pushing aside barriers, while it talks of a variant cultural space that the consciousness of new novelists are off springs of that space. This novel concerns of escaping from monologue and provides a text in which voices and dimensions are plural. Meanwhile, the open end of the novel, plurality of voices and diversity of viewpoints, are all preparations for the main character of the novel. A personage who spoke of his wandering and parallels himself to bamboo tree. The novel is interesting because it formed in a cultural-combinatory arena to announce explosion of inconsistencies that are the main characteristics of its connotation; specially, we see that this novel ridicules mono-dimensionalism. The narration of the novel in a protesting combination wants to remove those magnifications that drown people's voices and kills every chance of growth. So, this article tries to deal with the forbidden angles entered this novel, so that we realize how a novel aims at old traditions in Arabic societies. This article, relies on dialogism, follows this aim that how representations of hybridity manifest themselves in the main personage of the novel.

'habsiyā t' (prison poems) includes a genre of poems that have old precedence in Arabic literature; because, some of the poets were put in the prison and felt bitter taste of it and this bitter experience reflected in their poems and led to the creation of a special form of sense and imaginary of the poet reflected in his poems. This genre, in fact, describes truthful senses and pure emotions of poet and is full of his grief. It also portrays poet's life in prison. Some of these poets in different literary periods with the help of this literary technique portrayed their personal experiences in the prison, among them was Ibn Zaydun, the distinguished Andalusian poet, who due to his slander enemies' backbites, was put into the prison, in charge of participation in a plot against established government and attempts to return ummayyed caliphate. His bitter life in prison reflected in five eloquent elegies scattered in his divā n (collection of poems). These poems, despite of their beauty and eloquence, are not yet independently studied. This lack of study persuaded us to examine these elegies connotations by use of a descriptive and analytic method and present the degree of innovations and imitations in his poems to the reader. In addition, we tried to depict the poet's point of view to this genre of lyric poetry. One of the most important results of this study is that the multiplicity of poetic motives in an elegy is among the most important signs of poet's imitation in his habsiyā t. One of his innovations is that he merged beautiful scenes of Andalusian nature to his habsyyā t. Thus, he was not completely imitator in composing habsiyā t, but was somehow an innovator.

This study examines coffeehouse as a fictional space in the novels of Ahmad Mahmood, and Abd al-Rahman Munif. If space, on the one hand, is equal to the world, situation of entities, things and deeds, and on the other hand, a scale to measure knowledge and ontological, sociological and cultural relations, the coffeehouse in the examined novels in this study is extract of this equality and scale. This focus on coffeehouse for the comparative study with the aim of opening a window for the dialogue between Iran and Arab world as well as to establish improvement of coexistence and multilateralism and justifies choose of the two writers, for their attention to the coffeehouse and values this study seeks. specially in Mahmood's novels hamsā yehā (neigbours), dā stā ne yek shahr (the tale of one city) and zamine sukhte (burned earth), and Abd al-rahmā n Munif's penta-volume modon al-milḥ (cities of salt), and triple novel of arḍ al-sawwā d. This comparative study benefitted from achievements of two American and Russian literary schools that focus on similarities and inconsistencies of literary works and relationship between literature and other spheres of knowledge. This study has three section: 'coffeehouse: location and textual function'; 'coffeehouse and tradition' and 'coffeehouse and history'. At the end, reaches to the result that this space has considerable artistic and cognitive role in the examined novels and is one of the most important constituents of the story that helps writers via knowing its location and its relation to the history and tradition in the text, to convey aesthetic and epistemological messages to the reader.

Poetic images had different manifestations in different literary periods. Poetic images in the poems are products of two basic factors: 1. Society and political, social and cultural conditions governed on it; 2. Poet's thoughts and mentality that play crucial role in creating poetic images. Bidel's poetic images are the result of his imagination; he combines his sensory and mental experiences in such a way that the reader is not able to grasp a single and explicit meaning from them. The only device to understand his poems is the reader's knowledge. The present article, based on library resources, deals with the origins and nature of Bidel's poetic images. The results show that the origins of his images are intrinsically different from the images of Persian classical poets, because the origins of the classical poetry are tangible and understandable elements; whereas the origins of Bidel's poetic images are the result of his philosophical-mystical thoughts, uttered in a special language. This language is called 'the language of dream' that causes complexity and ambiguity, and consequently incertainty in the meaning.