البطل الوجودي في نصوص جليل القيسي المسرحية

الموضوعات

فن

روابط وملفات

التعريف والنوع

رقم الوثيقة

0eaa7520-cf4b-4d63-9ad6-11fcb42e0033

رقم العقد

0

نوع الوسائط

Crawler

نوع المحتوى

الرسائل العلمية

صيغة المصدر

رسائل ماجيستير

نوع الملف

pdf text

أسماء الملفات

1000534_1.pdf

بيانات النشر

ترجمة العنوان

Existential hero in the texts of Jalil Qaisi Theatre

ألقاب المؤلفين

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اللغة

Arabic

المصدر والدورية

اسم المصدر

البطل الوجودي في نصوص جليل القيسي المسرحية

المحتوى والصفحات

عدد الصفحات

0

ترجمة الملخص

Since the dawn of mankind and the birth of being, the first had personality, active presence in his being, the origination term of its sustainability and extension to the present day with the development of continuing human realized that he has the ability to produce his torg and choose the best life and ideal. It was the existential personal presence and development. The existential personal place in peoples' lives has ranged between tides; it has oscillated between this position of slavery and to get enough of the right that makes them the center of the secret of life continue. And considering that existential personal searching for a special public freedom and the fact of human existence. But over the course of the long history of social developments, it gained the attention of writers and treatment of the subject of existential hero personal and dimensions because it is part of reality. Current research includes four chapters. The first chapter ((Methodological Framework)) includes the research problem which ended by the following question: ((How did the Jalili Qaisi existential hero personal drawn in his play?)) and in the same chapter demonstrated the importance of research and the need for it as a highlight on the study of dimensions of existential personal in the general of the text theatre and in the text of Jalil Qaisi especially. The research included the scripts written by Jalil Qaisi in the period ((1973-1986)) and at the end of the chapter, the definition of key terms that received in the title of research. The second chapter (Theoretical Framework) has dealt with three themes. The first included existential in terms of upbringing, the concept, and the features that distinguish them. The second section addressed existential hero personal in the world theater, where it addressed the personal since the establishment of the world stage and then studied the personal of hero existential in Sartre and moved to the Arab theater, where the existential hero personal in Chassan Kang Fani was studied. The third research has included the intellectual term of reference that drew them in the text of the play Qaisi. This chapter ended with the theoretical framework indicators of supply including: The achievement of human freedom realized the nature and existence. Existential hero personal verifies its existence through its action and establishes existence. Create existential hero personal again through the demolition of the former entity; here reactions differ and seem strange. Jalil Qaisi has world breath through presentation plays, problems, and events. The third chapter (of research) includes the research community, the sample of research, the research tool, methodology, and analysis of a sample. It includes three plays: (Guevara Returned Open the Doors, The Last Night of Lorca in Benrnar, Hello Its Selfishness). The fourth chapter of research contains the research results reached by the researcher, including: The personal Guevara (main character) carried the existential drama since the start of the event until the end. Existential hero personal expanded to think to be free from the bitter reality and the search for freedom behind the growing self-pleasure according to time and place. Qaisi makes a personal (Rev.) collision of valuable intellectual and religious aspects, which made this character confirm freedom and break despair to achieve its desired aim. Existential hero personal in the play (The Last Night of Lorca) is characterized by ridicule nature from enemy, especially leader personal (Jose). Qaisi was interested in this play in building the main character, particularly his historical realism and character structure on the basis of world literature. Finally, Qaisi engaged with the statement of intellectual and cognitive dimensions in (Lorca). Long live the existential hero personal (Sahera), a series of contradictions between the same individual and the outer perimeter. Al-Qaisi expanded in the play (Hello Its Selfishness) to build existential hero personal and modeling on the basis of cultural, social, and moral considerations, taking into account the specificity of the ideal faithful to her absent husband. The chapter also contains a set of conclusions and recommendations, proposals and proven sources, references, appendices, and the summary in English.

كلمات الباحثين

البطل الوجودي، الشخصية، المسرح العربي، جليل قيسي، الحرية الإنسانية، تحليل نص المسرحية، البناء الشخصي، الدراما الوجودية، البعد الفكري، البحث المسرحي

إشراف وإعداد

الإشراف

هدى هاشم محمد الربيعي

الإعداد

قائد طالب سلمان السلطاني

الاقتباسات الببليوغرافية