الرمز وابعاده الدلالیّة فی روایات محمود شقیر للاطفال

اصبح استخدام الرمز من ابرز میزات ادب الطفل فی فلسطین. فالکاتب باستخدامه للرموز انّما یزید فی جمالیات روایاته من خلال اضفاء مسحة الغموض والعمق علی لغته القصصیة. ویعتبر محمود شقیر من ابرز الادباء الذین استخدموا الرمز فی روایاته الواقعیة، فکانت بعض روایاته مفعمة بالابداع والتولید مثل روایات انا وجمانة وکلام مریم واحلام الفتى النحیل، مّما جعلنا نتتبّع الرمزیة فی اعماله الروائیة للطفل، فقد نهل شقیر من هذه الینابیع الثرّة واستقى محاوره الفکریّة لیعبّر عن واقع الطفل الفلسطینی، سواء واقعه الخارجی الذی یحیط به او واقعه النفسی وما یختلج فی ذاته من مشاعر واحاسیس وروى. کلّ ذلک لتعمیق تجربته الابداعیة والانسانیة والشعوریة، والتاثیر فی جماهیر الاطفال. تعتمد هذه الدراسة علی المنهج الوصفی- التحلیلی للکشف عن اهم مظاهر الرمزیة فی بعض اعمال محمود شقیر، وقد وصلنا الى انّ نتاجه القصصی یصوّر الواقع، واجتهد الکاتب فی التنویع والتمرد على التنمیط المالوف فی الواقعیة. کما انّه تاثّر بالرمزیة، فکان الرمز ضرورة فنیة فی ادب محمود شقیر، وقد لجا الکاتب لاستخدامه کوسیلة للتعبیر عن آرائه نتیجة لکبت حریة التعبیر وفرض الحصار الثقافی، اذ تجاوز، من خلاله، قیود الاحتلال ورقابته الامنیة، ولقد اتخذ الادیب من الرمز وسیلة فنیة ورکیزة من رکائز تصویره للواقع، وقد تنوّعت وتشعّبت مصادر رموزه فی ادبه الطفلی، منها التاریخیة والدینیة والطبیعیّة والاسطوریة.

Symbol in the Literature of Mahmoud Shakir for children

Mahmoud Shukair is considered one of the most prominent writers affiliated with realism, especially when the local conditions in Palestinian society matured, which led to the dominance of the realist trend in the Palestinian novel. These political circumstances and events did not leave a trace of romance in literature, but rather imposed positive realism on literature, so Mahmoud Shukair turned to his society, and the concerns and pain of his people’s children became one of his active themes and the main themes of his ideas. His writing became an objective extension of the real-life story, in its connection with the Palestinian child’s concerns and suffering. Some of his novels were a reality full of creativity, such as I and Jumana, Maryam’s Words and Dreams of the Skinny Boy. That made us trace three types of realism in it, most notably documentary realism, which tends to convey reality as it is, and realism and the symbol that came to a realistic necessity, which prompted the writer to use it as a means to express his views, as a result of the suppression of freedom of expression, and the imposition of cultural siege. The third form in the stories is fantasy, which is represented in the way the writer seeks to stimulate and stimulate the imagination of the child and is embodied in the child’s dream of transcending the time and spatial limits… to fly into a new reality. We have come to the conclusion that his fictional production depicts reality, and conveys it faithfully, to expose it and then to change it with his new means, such as fantasy and symbol. This is what distinguishes Shukair in his narrative construction. We have sensed solutions and proposals that call for changing the reality; this in itself is positive in the narrative construction, and is in harmony with the realists’ positions, values and calls to criticize and change reality.