البحث — المستودع الرقمي العراقي

نتائج البحث: 25 من أصل 2,952

البحث الدلالي في تفسير التحرير والتنوير لابن عاشور ت 1393هـ

اسم المؤلف: حامد عبد الرضا جبار الشويلي

اسم المشرف: تراث حاكم مالك الزيادي

الموضوع العام: اللغة العربية وادابها

السنة: 2011

الموضوع الدقيق: اللغة

الدرجة: ماجستير

الجامعة: جامعة القادسية - كلية الاداب - قسم اللغة العربية

اللغة: العربية

مكان الجامعة: القادسية

الصفحات الاولى:

انما في القران الكريم : دراسة نحوية دلالية == Innama In The Holly Qur'an; A Grammatical And Semantic Study

اسم المؤلف: محسن صالح قادر

اسم المشرف: عادل شحاذة علي الخزرجي

الموضوع العام: اللغة العربية وادابها

السنة: 2011

الموضوع الدقيق: اللغة - النحو

الدرجة: ماجستير

الجامعة: الجامعة العراقية - كلية الاداب - قسم اللغة العربية

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: Praise be to Allah, Lord of the Worlds, and prayers and peace be upon Prophet Mohammad, and on his family and his companions, prayers and permanent peace to the Day of Judgment.Then : The Quranic studies are regarded as an important tributary to enrich the library of Arabic language as covering all areas of the language in sounds, morphology, grammar, semantics and rhetoric or style. The aim of all of them is to show the issue of Quranic miracle and confirm it, and indicate the firm precision which is the characteristic of the God's speech, and try to understand the purposes and provisions contained therein accurately and clearly.In this research, one of the articles of the Arabic language is dealt with in the Book of Allah which is (Innama). The thesis title is («Innama» in the holly Qur'an; a Grammatical and Semantic study).The reasons that made me choose this subject go back to my desire to study a topic related to the Qur'an.The nature of the study requires dividing it into three chapters followed by the abstract of the study.Chapter one deals with the study of the articles in language and the position of (Inna) in them. It also deals with the term and concept of the article in terms of simplicity and structure and its impact on the sentence. Meanwhile, Chapter two covers the possibilities of (ma - what) in (innama) with a practical study to these possibilities in the Qur’an.Chapter three deals with the usages of (innama) and its benefits with a practical study of these usages in the Qur’an.The study ends with a conclusion summarizing the findings of this moderate study. The most important of these findings are : 1. What is settled in our minds is that the term (article) is a Kofi term. It was not known before being used by Kofis as an issue that needs revision, since its use was not confined to them. Also, we find that the Basrians used it before them, but the fact that they expanded its use does not mean that the term is special to them.2. The grammarians are different in dealing with (Innama) in terms of its formation and some of them see it as a simple letter not compound, while the majority of the grammarians, linguists, interpreters and fundamentalists believe that (Innama) is compound and formed of (Inna - indeed) that looks like verb and (Ma - what) which is used as having the meaning of the whole or arranger in the view of some of them and (Ma - what) negates the function of (Inna - indeed). So, the noun that comes after it is nominated and makes it intervene with what was not intervened with it and is a verbal sentence.3. (Innama) is not mention in the books of language, meaning and distinctive articles only rarely. It is strange that when they divide the articles according to their construction, they do not mention (Innama) among the words consisting of five consonants, but when they turn to another division according to working and neglect, simple and compound, or special to noun and verb or both we see that they mention them.4. The attached (Ma - what) to (Inna - indeed) carries more than one face in the Holy Qur’an. It might be (all) which is one of its most potential possibilities. Then, it is often useful for limitation as it also occurs in the Holy Qur’an and carries (connective, infinitive and descriptive) even if its occurrence is few.5. The usages of (Innama) for the benefit of limitation in the Qur’an is much more and wider in its usages in the other fields. Perhaps, this is the reason that made the grammarians, explainers and rhetoricians failed in dealing with (Innama) in limitation, as an article that is only used in limitation and its other usages are not mentioned except a few of them. Also, it does not occur except in a few verses of the holy Qur’an which is used for brevity, exaggeration in emphasis, insulting and reduction, returning something to its reality, exposure, and explanation.These were the most prominent conclusions of the study I presented after two years of work. I think I have done a great effort to master my work. I thank everyone who helped me in my career. I ask God to reward them the best reward.I ask God acceptance, guidance and wisdom. He is the Hearing and the respondent.

تداخل الانواع الادبية والفنية في شعر الجيل التسعيني العراقي == Overlap Of Literary And Art Genres In The Verse Of 1990s Generation Of Iraqi Poets

اسم المؤلف: كريم عجيل صاحي الهاشمي

اسم المشرف: طالب عويد نايف الشمري

الموضوع العام: اللغة العربية وادابها

السنة: 2011

الموضوع الدقيق: اللغة

الدرجة: دكتوراه

الجامعة: الجامعة المستنصرية - كلية الاداب

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: لا يخفى على المختصين بالادب والنقد ان النص المتداخل يمثل وحدة نصية تتسم بالاشكالية الادبية والفنية معا، الامر الذي يؤسس مطلبا لكشفها ورصدها في النصوص الابداعية من هذا النوع، التي تعد مجالا رحبا للدراسة والبحث، لما ينطوي عليه من كثافة لغوية تعبر عن خفاي | The 1990s Iraqi poets generation isconsidered as one of the important generations of Iraqi poets in the field of culture and literary criticism due to the fact that its poets have acquainted themselves with the achievement of the former generations and attempted to comprehend it within adeep artistic vision in order to establish a trend guided by awareness of these visions and broad enough to embrace their different orientations and aspirations on the level of vision and art. This achievement was flexible thanks to its transformational structuralism from the lyrical poetic patterns to the dramatic narrative ones that came as a response to the requirements of denotation through anew formulation springing from the creativity co - occurring with the multiple literary genres. Overlap means that a single genre enters into various interrelations rendering it acceptable by the receiver through utilizing its formative elements and using them as new elements and tools of this new generated art (poetry) in order to create the aesthetic pleasure and to bring verse into the domain of the open text that can embrace fine arts.The verse 1990s generation of Iraqi poets overlapped via a series of stylistic and artistic techniques that consist with the textual content of their poetic texts due to the structural peculiarity of the course of poetic structure in spite of the confusion and looseness inflicted by modernism approaches that seek to remove boundaries separating literary genres, even though they did not cancel the delicate internal characteristics between them. So the approaches mentioned remain in bad need of them and their existence is necessary to identify the amount of displacement that ensues or the new deviation in their generalities that tend by their overlap to formulate and merge with other genres through the flexibility that the 1990s poem providesThe overlap between the poetic and the narrative has become clear. The dissertation came across many details that indicate the kind of this overlap, its methods and styles and these were studied according to the predominant ones of which. It has also become clear that the poem of the 1990s Iraqi generation of poets is a flexible one in terms of its theme and style and embraces the fields of modernism and consequently embraces the ideas and visions of their composers in the midst of hard circumstances surrounding their lives yet the broadness of vision entertained by this generation poets made them overtake the epic without isolating themselves from its painful details.These mechanisms that cope with verse came to be one of its aesthetic foundations that distinguish it and made it a text open to overlap with the other genres in their interaction and communication with each other let alone their consistency with the allegorical poetic discourse structures which represent a concomitant feature of the verse genre. The narrative techniques have become predominant in the text components, for verse represents a pure creative field but it infiltrates to all other fields able to put up with its effectiveness in infiltration and its ability to create a montage that renders the poetic production of images and others consistent with its delicate details through different axes as illustrated in the textual corpora.The 1990s text entails that time is not fixed because it represents a frame of the text and is involved in the crux of the textual structure and its organization.Reading the poetic achievement of the 1990s Iraqi generation of poets, we may conclude the presence of a great interactive recognition in the patterns of setting structure formulation and its prominent presence in their poetic texts on both the single structure and the total structure of H - setting a matter which shrouded their texts with aesthetic and technical features that the receiver can feel in their verse, for its well - known that man by nature deeply related with place. Undoubtedly, the poet, therefore pays special attention to it and his relationship with the place is exceptional and his recognition of its effect is tremendous and this results in a peculiar relation between the poet and the place with an interactive dynamism that generates different meanings. The poets of this generation made use of the interpretive level and its broad scope to embody the theme of event in a concomitant way that combines both the real and the imagined. It may also show the dynamism of the event and highlight it by the role that the characters play in the narrative poetic text and their unity in a relationship that reveals the nature of the event and its type when it relies on different religious and folkloric references.It has also become clear that the 1990s generation of Iraqi poets wanted to introduce a poetic achievement far from adherence to boundaries that separate it from the other artistic and literary genres, their achievement, therefore, was rich with overlap with these arts in a way that opens a large scope of stylistic and technical exchange a matter which characterized it with the feature of interaction through the employment of contextual structure techniques and textual structure styles. It is obvious that the poet was deeply concerned with the overlap between cinema and poetry and it is easy to conclude that the 1990s verse in Iraqi overlapped with cinema art and the fields of imagery that it employs follows the rules and techniques of this art to the extent that its well - known procedural tools allow both on the level of acting and direction. Cinema was one of the most important arts that overlapped with verse and through this overlap, it enables the poet to express his views and ideas in accordance with the features that characterize cinema. It is clear for all those concerned with cinema now important are the audio and the visual effects in the production of the cinematic picture, for these effects play an auxiliary role in the completion of the picture and making it easy to comprehend on the part of the receiver in order to emulate the real life that the cinema clips is tackling.It was revealed that this overlap was based in accordance with apattern of diverse and multiple structure in which poets resort once to following a traditional system of cinematic art and portraying things as they are in real life, and another follows the new trend of this art and avoid the exact imitation of real life in the pictured narrative material. It is not hard, anymore for the literary text receiver to observe that literary arts of various types are overlapping to the extent that it's now possible that they meet and introduce a single creative discourse for they all seek to perform an aesthetic effect on receives via expressive diversification and indication that crystalize the vision of its producer. Literature attempted to make use of painting effects through the diversification that overlap between verse and other arts permits and tried to paint with words. The employment of painting in 1990s verse was not confined to sketching the picture and embodying its dimensions via words alone but the increase in this employment in most their poetic texts so it overtook it in a manner that make it a participant in the acts of characters when they imitate a certain scene

اوجه الصراع في شعر الصعاليك والفتاك الى نهاية العصر الاموي == Aspects of Conflict in Al - Sa'Alik's Poetry Till The End of The Umayad Age

اسم المؤلف: رؤى جاسم محمد محمود الحديثي

اسم المشرف: علي حسن جاسم الجنابي

الموضوع العام: اللغة العربية وادابها

السنة: 2011

الموضوع الدقيق: اللغة

الدرجة: ماجستير

الجامعة: جامعة تكريت - كلية التربية للبنات - قسم اللغة العربية

اللغة: العربية

مكان الجامعة: صلاح الدين

الصفحات الاولى:

المستخلص: Poetry was one of the most important arts of the Arabs because they employed it in all the fields of their life since ancient times till the present. It was their record; full of the tales of their lives, their joys and sadness, their victories and defeats and their habits, conventions and morals … etc. till it became their sacred which kept all the aspects of their life. Conflict was one of the aspects of their Life which characterized their poems‚ especially AL - Sa'alik's (vagabonds') poems where conflict was the dominant feature in their poetry. It attracts the attention of the reader to the extent of this conflict which pervades every aspect of their life.The thesis is divided into an introduction and two chapters. The Introduction tries to explain the meaning of "conflict" linguistically and idiomatically and its types as well as the meaning of sa'laka (vagabondage) linguistically and idiomatically. The chapter, then, tries to explore the reasons of vagabondage and the factors behind its appearance in the lives of al - Sa'alik. These reasons are economic, geographical and psychological as well as some other factors which participated in some way or another in the emergence of these phenomena.Chapter One is devoted to the conflict for survival and it is divided into two sections. The first section is entitled "The Conflict with Natural Forces" and it includes the conflict with the still and the mobile forces‚ the conflict with the unknown (death, aging, time and poverty). The second deals with the conflict with the other individual such as (the threatening killer, the miser, the vagabond and woman) and the conflict with the collective "other" such as (the poet's tribe and the other tribes).Chapter Two is devoted to the study of the self as the focus of the conflict and is divided into two sections. The first one "The Internal Conflict" tackles the conflict within the self, the self - conflict with alienation and the conflict with prison. The second deals with the self's conflict with thoughts and beliefs and is subdivided into sub - sections : the conflict with kings and walis, conflict with jinn and monsters and the conflict with other things such as religion, myth and beliefs. The last part of the thesis is the Conclusion which sums up the findings of the study which can be summed up as follows : the Sa'alik's conflict was diverse and severe which pervaded their psychological, social and political lives and it included even the conflict with natural environment. This had an evident impact on their selves till they were abandoned and neglected by their tribes and by the others and this increased the tension and the internal conflict within their selves which was reflected on their personalities and their way of dealing with every thing round them till their lives became continuous conflict.