There is no doubt that the narrative form is a mixture of many elements that it
becomes so hard to differentiate between them. Thus, to differentiate between those
elements we must understand the job of every element; and that is the structure of narrative
form in the artistic frame of the old Arabic poem.
Poetry, as the readers confirm, is strongly related to a lot of arts. The rhetorical
form is related to the art of drawing and photography, the rhythm- the core of poetry- is
related to music, its structure to the art of architecture, its tension to drama as it consist of
internal conflict between its elements and ingredients, and the poetry has a narrative
element which relates it to the art of narration and its presentation of characters and the
rapid description of the events and scenes.
We might agree with Dr, Hateem Al- Saqer, that the narrative vision that is based on
the structural narrative was not a phenomenon in the exact sense in the Arabic poetry
before the wave of modernity in poetry, ( drama is not a passing or rapid excitement. And
as a result there isn’t much emotional agitation, nor exhausted picture with obvious
meanings, but it is a tension which results in rich presentation and sound, picture, and full
expression on a consciousness level. The narrative drama produce, on a narrative and
events level, a series of incidents and situations, and determine the narrative pronouns, and
the place and time specification).
To agree with the above opinion does not change the fact that we are not looking for
the merging of narration and poetry and the result is a new literary form which is neither
poetry nor narration, but we are searching for the narrative form in the Arabic poetry, and
that is what we will be discussing in this study.
This study is divided into three chapters and a conclusion.
Chapter one gives a background on the narrative form and its job. It is divided into
three sections. Section one deals with the narration form and the narrator. Two
concentrates on the employments of the narrative structure. The third section deals with
poetic language and its job.
Chapter two deals with the elements of the narrative fiction, and it includes four
sections. Section one deals with the plot and its structure. Section two concentrates on the
characters. Three deals with the time technique, and the fourth section with the time
technique.
Chapter three concentrates on the factious narration techniques, and is divided into
two sections, section on deals with the dialogue and kinds of speeches; which includes the
direct, direct subjective speech, the free indirect speech, and the narrative speech. The
second section tackles the descriptive form and its kinds.
The conclusion sums up the findings of the study.
بهذا البحث نقارن معاييرالمعلومات التقليدية (AIC , SIC, HQ , FPE ) مع معيارمعلومات الانحراف المحور (MDIC) المستعملة لتحديد رتبة انموذج الانحدارالذاتي (AR) للعملية التي تولد البيانات,باستعمال المحاكاة وذلك بتوليد بيانات من عدة نماذج للأنحدارالذاتي,عندما خضوع حد الخطأ للتوزيع الطبيعي بقيم مختلفة لمعلماته
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The optical absorption data of Hydrogenated Amorphous Silicon was analyzed using a Dunstan model of optical absorption in amorphous semiconductors. This model introduces disorder into the band-band absorption through a linear exponential distribution of local energy gaps, and it accounts for both the Urbach and Tauc regions of the optical absorption edge.Compared to other models of similar bases, such as the O’Leary and Guerra models, it is simpler to understand mathematically and has a physical meaning. The optical absorption data of Jackson et al and Maurer et al were successfully interpreted using Dunstan’s model. Useful physical parameters are extracted especially the band to the band energy gap , which is the energy gap in the a
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