المقارنة ومستوياتها في السرد الحكائي في العصر العباسي

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Crawler

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الرسائل العلمية

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ترجمة العنوان

Paradoxical and Ironic Levels In Story Telling of The Abbasid Age A dissertation prepare for the PhD Arabic department

ألقاب المؤلفين

[{"name_ar":"أحمد علي محمد","title_ar":"اشراف","title_en":"Supervision"},{"name_ar":"محمد ونان جاسم","title_ar":"اعداد","title_en":"Preparation"}]

اللغة

Arabic

المصدر والدورية

اسم المصدر

المقارنة ومستوياتها في السرد الحكائي في العصر العباسي

المحتوى والصفحات

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ترجمة الملخص

The Abbasid era was cultural and eventful with creative literature, especially prose thatwas characterized by its high position, stature, writing versatility, and good embedding inall its kinds such as rarehumorous, speeches, anecdotes, news, signatures, and the textsof rhetoricians and eloquent. The Abbasid tales which is a form of narration, wascharacterized by its sequential beauty which was produced through scripted interactionand accumulation according to bilateral of (antiquity and modernity). Furthermore, its’emerging methodology due to two basis character and crafting without exaggeration.These two basis created narrative texts maintained its flare creativity over the time. Thiscreativity has attracted me to study this flare creative in a way from traditional descriptiveapproaches or studies interested in superficial structure of the text. Through my in-depthreading of the narrative texts in the Abbasid era, I noticed that the most importanttechnique of creativity was the paradox. I will try to monitor its types through those texts,which began -most likely -spoken folk councils, and their own forum, and classes thatdepend on the mind and cues in achieving reformation, or seeking for takingawayboredom from central receiver, or non-centrally receiver through enjoyment andentertainment.The paradox is stylistic structure, psychological, social, and incomplete-oriented signrelated to relevant aspects of innovation. This evokes the discussion of its nature andinvestigates its impact as well as its relationship with expression as a general frameworkwhich includes and the statement of its relationship with the expression as a frameworkfor the public, which includes all forms of beauty. Paradox is lively domain of literarystudy. I mean that paradox of the aesthetics of texts, the constructive variables, andfeatured of time independence, or sticking to a certain literary type. It was necessary todetermine the research literature field. So narration had been chosen because the presenceof paradox linked with specific attitudes. Furthermore, this choice imposed to determinethe time in order to control systematic research. The interest was on the beginningoriented codification of narration presented by the Abbasid era (132-656 for migration)without being restricted to the time occurrence of the story. Therefore the researchincludes some texts that have occurred in the centuries that preceded the Abbasid erabased on the time record not time of occurrence, as well as the word (narrative) is closerto the essence of narration rather than the word (fiction). The latter has technical stabilityin the modern era according to translation, or criticism. For the importance, setting, andsemantic proximity, I chose the title (Paradox and its levels in the narration in theAbbasid era), and the second preposition’s function was for precision, this means that theresearch will exclusively examine the available texts in heritage books of the authors inthe Abbasid era regardless to the actual time of occurrence, because it monitors thewritten stories rather than the oral ones. The term paradox has entered into literary studiesthrough translation. It was similar IIto the critical texts that could not find its origin;therefore the research will try to investigate its’ origin through what is produced by thelexicon Arab and the rhetorical heritage approaches, in addition to interpretation of thecommentators without negligence of evolution contexts, such as historical context basedon the binary (permanence and drop), geographical context based on a bilateral (stretchand its opposite), social context based on the binary (acceptance and rejection), and thescripts based on thebilateral context (depth and holiness phenomenon).Abbasid era chunky with tales that inspired the story writers over ages. Abbasid taleshave clear impact on the Arab literary narration during various days. Varied forms ofAbbasid story expressed the core of Arabic mind, utterances, and behavior, so there wereMakamat, Arabian nights, and Forgiveness Letter, Scrooges and fools stories, madmen,parasites, dupes and anecdotes, and tales of thieves and anecdotes and lessons, tales ofdreams, and others, have had a unique place in the history of the Arabic literature.Though the rhetorical books heritage do not agree on one classification for these stories,the narrative stories or texts will be debated issue in this research.Tale is based on grants and acceptance. The author gives the story its artistic dimension,technical and narrative firmness. The receiver is the one who controls acceptance.Disapproval or acceptance will be based on impression and realization.These tales often -sought towards upgrading, creative narration in order to achievepleasure and beauty for the writer, text, and the receiver, The theme of sublimation isrelative issue, diagnostic reading of the tales reveals texts tackled texts searched forsublimation, and the other went otherwise sublimation, which belong to the obscenitieswhich are neglected in this research for the necessities committed. Obscenity means allthe words that imply obscenity, or obscenity in the act, as well as neglected to researchstories that transcended religious implicitly, although it depends on irony through thecontext. Throughout the research the idea will be clearer through monitoring irony informulas items, as the items belong to recording, or in the subject items as a part of thenarrative body, or belong to the story before being written.Monitoring the rule of grant and acceptance is not efficient in clarifying the essence ofbeauty and its effects, unless to be integrated with reaction interpretation as well as therelationship between the body and the structure. The former refers to what actuallyhappened, and the second refers to the written transference about what actually happened,or what the writer has imagined. The research will attempt to deconstruct the paradox inthe story-structure through its relationship with the effect that had left, and will be basedon the (questioning), as what paradox is? What are the reasons for its availability in thetexts? What impact does it have? What elements? What is the relationship betweenparadox in the one hand and contrasts and contradiction on the other hand? Is it content IIIor style relationship? Who is the speaker in the story? What is his impact on the creationof paradox? Who is the receiver? Is the receiver a central actor in the story? Or he is anoutsider recipient? What anecdotes that were guarantors of paradox? Why is that? Wherehad the paradox been achieved? Is it in the narrative processes? Or in the narration itself?What is the evidence generated? What are its features? What does prevent its presence inthe texts? What the impact of language in creating paradox? Is it its’ misstate functionwhich is stored in the memory of the individual and the group level? Or it is in theperversion phenomenon? Or in trade breaching? Whatis the relationship betweenparadox and truth, paradox and imagination? The research will discuss the differencebetween paradox produced consciously, and paradox produced arbitrary and nonconscious,and the paradox produced sensory such as desire as showed clear in Scroogestales. Also the paradox produced by mental defect as showed in the fools’ tales, and theparadox produced by featured and characteristics as showed in tribes’ tales. These andother questions were the first premise, and the base in the development of research’smethodology. The research is distributed into five chapters, as well as the approach ofmost of the texts of the story types in the research.Researchers -most likely -choose their critical approach after passing four stages. Thefirst phase is determination derived from well awareness. The stage of collection anddocumentation under the control of scientific research. The reading stage, and theunderstanding stage. These four stages provide the researchers the full control of theircritical gadgets on three goals: function, value, and criteria. The most important stage isthe selection of research methodology, because methodology grants the research specificimportance and sedate. The text approach and its linguistics are two primary basis that Ibegan with to distinguish the literary curriculum. I mean by linguistics: linguistic andnon-linguistic.The research tackled the subject of language due to the idea that linguisticlanguage is notconfined to mankind. Animal has its own language, and there is a difference betweenwhat the narrator borne from the language of animal in accordance with the principle(Mouthpiece) as it's in the story of Ants in the verse ((even if they came to the valley ofthe ants said one of the ants, ants enter your dwellings not to be destroyed by Sulaimanand his soldiers, without being felt) (ants: 18), and the language of the animal accordingto (humanism), which the closest to literature.I had chosen structural synthetic methodology, and my interest was to avoid repetitionand rumination, and the historical receding. Furthermore to come up with supportedscientific effort. This approach has two pillars: structural which cares about interiorrelations of the texts, and synthetic one which is interested in three issues: the event, themeaning and the form. The synthetic structural approach characterized by its interest inthe form and content, and seeks to maintain its relationship. Moreover, Ibenefited insome IVresearch points from the psychological and social methodology. The socialdiagnoses in-depth the psychic of the social structure that being mentioned in somestories. It also interested in the sense achieved by social self-actor.Whereaspsychological approach is needed in the research to clarify the creation stimulusonce, and clarifying the text effect and the paradox on the recipients. The researchoriented toward an integrative criticism, not an integrative methodology; becauseintegrative approach met while presenting all the curriculum, this is impossible, but itshows chaos critical approaches and fragmentation, and the sedate research refusesdispersion.I notice that paradox and chosen methodology in the research required an interpretation,it is the most effective way in the critical procedure rather than explanation; explanationhas close relationship with superficial structure of the text, while the interpretationrelationship is a complex relationship through the transition from the superficial structureof the text (the clear meaning) to the deep structure (hidden meaning), and vice versa. Itis well known that nature of interpretation neutrality between argument and portable inany narrative or poetic text.It must refer to the adoption of the term audio narrative in most critical approaches; toavoid the dispute between the two terms: the character and the person, and the adoptionof the term of central receiver who took part in audio narration for events creation; or forattendance only.The research according to its plan includes an introduction, five chapters, conclusion anda list of references, sources and themes. The first chapter included (tales classificationand paradox rooting) three sections.In the first section (tales definition and classification), I sought to review the relationshiptale blogging phase, and the effect of this stage in documenting narrative text in theAbbasid era. So the tales were rated depending on Arab criticism heritage, I has benefitedfrom the book (Rhetoricians Methodologies) for Qirtagni in default rating for the tales. Inthe second part, which I called (the paradox in language and convention), I discussed thereference of the word paradox and its relationship with the idiomatic nature of paradox.The paradox levels and its presence incentives in the creative texts, and the relationshipof between the receiver through the levels and purposes. In the third section I tackled theterms that are related to conventional definition of paradox and presence. I also explainedthe role of these terms in the narrative text, and how close to the irony by using selectednarrative models. I pointed out that in the first chapter. I tried to root and explain theparadox, and their definitions, throughcritical reading for some literary texts.Chapter II was titled (The paradox in the construction of narrative elements). It includesthree sections. In the first section the first topic was paradox through (adverbs) time, andplace, furthermore the doer selected for them. I mean audio narrative, which produced byintuition and sense of the two paradox terms anticipation and retrieval, and draws hisborders movement Vphysicist location, and the non-physicist location. The second sectionwas specified for the (verb) as one of the elements of the narrative construction, as acreature, and an establishment. I benefited of its functions in determining actionsaccording to the principle of modeling, not the principle of statistics or designing. In thethird section of the second chapter I spotted the stylistic paradox based on multiplemeanings related to the realities of the lexical language, temporal and spatial variables, ormental ones, and contrary to the language base, which stipulates that each serves as anarticle, and in the relationship to say the probability of contiguous acceptance with thepossibility of surprise.Based on the titles of the third and fourth chapters, we realize that tales are two types.The first possibly accepted by the mind, and the taste, and the second type is mentallyand tastily unacceptable for the recipient. Both types are subjective to the linguistic,literary, and contextual data. The third chapter addressed (The paradox of probablenarration), which included three sections: the first is the traditional tales which classifiedaccording to two criteria: the cognitive and affective standards, and the inherited standardwhich redefines the tales. They were two types of tales. Tales that are related to temper,and intellectual tales, whether they were long or rare ones. The second type is theincorporated one, which was included in the literary heritage, through proverb. Itdifferentiates between proverb as economical linguistic in the field of similarities whichconsidered as one of the obstacles that hinder the paradox presence on the one hand, andthe proverb’s root with its story on the other hand. The third section is the diverted talesthat hero was one and multiple in the same time, represented by Al Maqamat, despite thefact that the nature of this kind of tales is different than the nature of the traditional talesand creativity, but they are consistent at the point of acceptance; therefore I included it tothis chapter. If the title of the chapter was (realistic narration), I would not be able tostudy Al Maqamat, because the possible area narration, is greater than the area of therealistic narration. I think that any artistic creation is part of reality. Al Maqamat is notfully detected from reality due to the pretext that it happened in the mind of thetransmitter, this means that Al Mqamat occurred in the mind of the transmitter on theactual geographical, temporal, or social area.In the fourth chapter I tackled the improbabletales type. In the first section I clarified therelationship between paradox and the warning tales, which gives humanize animals,making the creativity an inevitable choice. In the second section I dealt with dreams tales,which is improbable tales because they are yield to natural law, and their being source oftension. Tension is appropriate for paradox. In the third section of the fourth chapter Itackled the miraculous exoticism narrative tales and its relationship with paradox, and itsfeature which violates the common narrative process. The violated things are:1.the cognitive prevailing system; This system depends on the vitality of the contiguouscollective memory with the vitality of the receiver. VI2.deliberative narrative infrastructure.3.possibility and reality together.These three things are the equivalent objective that exoticism engaged with, and next tothis equivalent objective, it seems clear to the recipient that the exit exoticism talesdeviate from the system of cognitive and deliberative possibility, and actually lead to bebelonging to the absolute storytelling, it becomes in its presence law that every event ispermissible attendance, and there will be the exoticism tale.In the fifth chapter I tackled the issue of paradox regardless to the tales type. I studied inthe first section of paradox types and the relationships between the narrative structure andthe narrative body. The principles of the paradox, and the role of those principles indetermining the type of paradox. In the second section I showed the most importantmeans of sensual paradox as a part of the eventual structure of the tale, and the internalphenomenon of storytelling. I tackled also the violation of tool function output the textand within it. In the conclusion I included the research findings and recommendations,then the sources and references, which I was back to in endoscopy, or in the criticismapplication. We have to mention that heritage books such as Al Mqamat, proverbs, booksUniversity books of tales such as (al bayan waltabyeen) and (The Animal) for Al Jahezand (Al Basaer & Thakhaer) for Al Tawheedi, and rhetoric books such as (Sciences Key)for Al Sakaki, and (stratosphere) which were the spring that I sip from the Arabiccreativity of tales and news, and critical visions, either with respect of modern literature Ireturn back to (The Paradox) of (De. CNN. Maoak), and to some previous studies such asmy Masters’ thesis (the paradox in the pioneers poetry).The research was not easy. I met some problems during the research processes including:lack of sources that tackled paradox topics. Moreover the critics did not have commonvision between them about the concept of paradox. Their visions were different andundisciplined was due to their fully dependence on the western term of the interpretationof the concept. So I was back to our Arabic critical heritage. One of the problems Iencountered the historical references to some narrative achievements, such as the view:that assets (Arabian Nights) and (Kalila & Demna) are non-Arab, but I am committed tomy opinion about its Arabic characteristic; due to their content, which includedassignments purely Arabic.The research consists of pillars of criticism. The most important one is that the tale wasknown by its narrative elements, nothing to do with its length, limit, shape and its’ unitsorganization in the related subject. The tale is written event; therefore it was word andevent. Recording was preferred to maintain the majority of speeches’ parts, and supportedby the authors’ experience. The story as a literature piece was not isolated from itsenvironment. It has sought to plug with the receiver by language, or by the effect oflanguage, or by tracking the physical movements and the psychological changes. Theresearch belongs to the VIIstudies that benefit from modern curriculum in approachingcreative texts from Arabic heritage; therefore the research did not deviate from the theoryof (condition context) that contains different contexts such as cultural, social, andformative contexts. These contexts mean that the story is not an isolated achievementfrom its surroundings; therefore it had its purposes. These purposes can be identified bythree (legal purpose, the pleasure purpose, and the critical purpose). These purposes wereattached to paradox construct attachment. I has benefited from this attachment todemonstrate the paradox and its levels, and I listed below the most important findings ofthe research in the five chapters, through criticalapproaches of the tales, or by discussingthe various views in the conventional definition of paradox and its script presence.1.The critical approaches based on the critical base, which says: the critic to see the textin its circumstances without forgetting what modern criticism has reached of thetheoretical and practical procedures, as well as the provisions of the mind in paradoxicalranking of the tales, at the same time through the attribution of two things: the text and itsmessage on the one hand, and studies that tackled this issue of research on the one hand.2.The research rooted the term paradox through linguistic references, andcommentators interpretations of the act (differentiate) contained in the words of theAlmighty ((swear to God they are from but they are not they are scattering people))(Repentance 56)3.Paradox is a stylistic structure and disappointed prediction, produced by smashingwaiting horizons, breaching and fragmenting of familiarity between the text and itscontexts, and disrupting the linguistic system and shortcut its emotional functions, andskipping overtaking shift, and uttering speech otherwise appropriateness, no obligationfor paradox with the language base, which states ( The per context an article)4.Paradox does not lay in vocalizations and words, but lays in the context.Vocalizations do not know its significance alone, but in sentences, phrases, texts anddeep level, not only in the superficial level. Paradox’s structure is attractive, harmonize,and expansion, but they are more aesthetic in the texts which are based on (linguisticeconomy).5.Paradox for philosophers means opposing the prevailing ideas.6.Paradox made of two things: perceptive, and experience which can specify theparadoxical text through its insistence to prove the critical fact that says “textcompleteness stipulates establishing and creating an unexpected and illogicalrelationship”.7.Paradox tackled many issues and topics such as the social, psychological, andintellectual. The interaction between structure and meaning granted the beauty featurefor the tales of the Abbasid era. The research dose not deviate from the theory of(situational context) that includes cultural, social, and formative context. VIII8.Paradox has bilateral relationships such as (showing and essence), (public andprivate), (seriousness and humor), (relative and absolute), (language and thought) andothers.9.Paradoxical model consists of three pillars: the producer of paradox, paradox itselfand paradox victim. We were trying to detect the internal structural relationships and itssense between these pillars as a whole in its belonging to the context of the text. Thisinternal structure combined with the external context on the level of the individual insome kinds of ironic and celebrating speeches, or at the community level in thedescription, social criticism, and change tools by narrative accumulation. This is a criticalprocedure governed by position and situational contexts, both explain the expressivepotential for every tale. Further they provide the recipient by a clear vision about spatialand temporal settings of the tale. As these two things are significant for therecipientthem to grasp and comprehend the content of the tale, and the nature of its narrativecomponents.10.Paradox has three attributes: secretive, contrasting, and intentionality. When theycombined in any text, we obtain the absolute paradox. If one of these features is absentparadox will be incomplete.11.Paradox has four forms: irony, fantasy, alienation and intertextuality. Alienationdid not appear in the tales of Abbasid era.12.Paradox has three levels: guidance, psychological, and social level. The three levelsare related to impact and motivation, and their relationship seems clear in the narrativeplot more than the narrative structure.13.Paradox’s style concentrate on three pillars: self-actors, form and context.14.Paradox identify the author’s ability rather than other literary forms.Paradoxicalpresence adds glamour sense to the text as a whole. The author’s stylistic abilityexpresses his mentality, and conscience. This ability varies between linguistics and non -human language such as physical movements. I regard the irrational relations, because itoccupies an appropriate in the paradoxical context. As for the logical relations, it cannotbe an incubator for paradox, further, paradox creates a developing environmentcontributes for the aesthetic of the text.15.No paradox without the element of motivation. There are three sorts of motivation:self-inception, cultural, and authorial.16.There are rhetorical terms of paradoxical approach: sarcasm, style-wise, to say whatis needed, chicanery, guidance, prevarication and good reasoning, vice reversed andironic metaphor. These terms were related and endowed to words rather than actions.17.Paradox is missing in the symbolic texts, and texts of semantic matching, but may bepresented in the texts of similarities, according to the rule that any similar bilateral mightcarry a partial variation. IX18.Paradox has a close relationship with narrative elements construction (the situation,act and language). In the contextual base paradox is based on the contrast, spacing andcontradiction in the adverbs of space and time. The situational element has been workingon creating cultural formation for all types of storytelling in Abbasid era which wascalled encyclopedia. Encyclopedia is a cultural gate that every reader overlooks on hisinner, outside and others various worlds. Paradox is presented as a coincidence and self underesti mationor others underestimation. The act is two kinds act, saying andprocessing. In the language paradoxis built on the functional change such asunintentional and unintentional pervert. Grammatical and semantic shift which createsconstant and linguistic paradox. The most contributed form in creating the paradox is theepigram.19.Paradox can be classified through text. All. So, each text should reflect one of itstypes.20.Paradox appeared in the conventional narration in two things: the innate and mindwhich are based on three references: purely mental, mental demonstration, andpsychological instinctive references.21.The paradox implicit in the event not in the phrase. Ironic was the dominant type.22.Paradox is presented in the transformational narration form. The transformationalform presented in the overall structure of the tales.23.Paradox is constructed in improbable narration depending on the mixing principle(of necessity, possibility, times, capacity, bodies, languages, races, sounds, means, puretruth and fiction.24.Paradox has mental means such as madness, acumen and linguistic means such asexclamation appeal, reasoning and means associated with behavioral course such as andlying, sensory means such as sword, bark and others.25.Paradox has types illustrated in the following table:Paradox according to anecdotal ,content paradox, modern paradox, spectacular paradox,paradox according to the actor, social paradox ,psychological paradox, intended paradox,arbitrary paradox, spatial paradox, and temporal paradox.26.Paradox creator has capabilities enables the text to communicate with the receiverand lend reading permanence. From these capabilities the linguistic potential andsurprising axiomatic and its ability to lend literary techniques (stripping) that expressideas rather than things.27.Narrative illumination at the end of the story is one of the obstacles of using irony aswell as metaphor, representation and symbolism. Its presence means the absence ofparadox. Its irony differs from the ridiculous irony in the secretive structure. Thesecretive structure of paradox does not require to be originated. If the origin is there it isrelated to congruence and differences. The difference between paradox and its obstaclesis not absolute, but they are shared in some issues such as the Xneed for interpretation,secretive and download dimensional time which is derived from a meditation moment.As a matter of giving back, which cannot be fulfilled in any way. I dispatch a lot ofthanks and appreciation to the Dean of Arts and Humanities faculty at Al BaathUniversity and the Department of Arabic, who was very cooperative and supportive inproviding me with valuable advice and guidance. Special thanks for Prof. Ahmed AliMohamed the supervisor of the research that has granted hard effort through hissignificant scientific notes that contributed to reducing the research mistakes, and followupsteps of completing the research prudently. I have adhered his instructions to benefitfrom them. If I missed something it is either due to pen’s slip, omissions or forgetting. Iclaimed God the Almighty to obtain satisfaction about the research. I hope that the content of the research will fulfill the discussion virtuous members’ expectations. Theirsatisfaction is a valuable scientific medal, because of what they have of scientific sobriety and critical insight

كلمات الباحثين

السرد الحكائي, العصر العباسي

إشراف وإعداد

الإشراف

أحمد علي محمد

الإعداد

محمد ونان جاسم

الاقتباسات الببليوغرافية