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.
Transformations of the actor when acting many characters are the product of joint work between the actor and the director through the instructions and the exercises that facilitate the reach for the desired goal.
The method or way has often been used which is Stanislavsky premises in his work with the actor in the role. The first section consists of two parts under the heading of the actor's work with himself. The two parts are preparing the actor in creative suffering (internal), and in coexistence and embodiment (outside). The second section is the book of the actor's work with the role. The current research aims at identifying the mechanism of the acting performance transformations among many characters of the same actor.
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... Show MoreIn The Name of Allah Most Gracious Most Merciful
Scholars, past and present, have paid attention to the books of Fasting and Hajj, and they have compiled literature on that, and they have written treatises and researches. The best days, and as for the pilgrimage, it is one of the great pillars of Islam, which God Almighty has distinguished by making its rituals in the best of places, which is the Sacred House of God.
في البداية اود الاشارة الى ان فهم حقيقة الازمة هو ذو جانب فني يتعلق بالجينات الوراثية لنظام يملك في احيناته قدرة عالية على تفريخ المشتقات. هذا النظام الذي يزداد عقما وتدميرا يزداد قدرة على خلق النقود الائتمانية/المشتقات، وكلما اقتربنا اكثر من فهم هذا الجانب كلما اسقطت في ايدينا تلك التوصيفات الاكاديمية الجاهزة في نقص الرقابة والاشراف، تركيز المخاطر،....الخ التي تناولتها الكتابات الشائعة في معظم طروحات
... Show MoreAbstract
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