توظیف اللقطه السینمائیّه فی شعر علی کنعان دیوان غُیوم الخَشْخاش انموذجًا

یُقصَد باللقطه وانواعها هی کیفیّه وقوف الکامیرا فی الاماکن التی یظهر التصویر السینمائی فی الفیلم من شخص ما او الاشیاء المطلوب الترکیز علیها. امتازت الصوره الشعریّه بالکثیر من التطورات والتغیّرات فی العهود الاخیره، ومن ابرز المجالات التی تاثّرت بها الصوره الشعریّه هی السینما وبالاخص الافاده من تقنیّه اللقطه وانواعها التی یوظّفها الشاعر المعاصر فی الصوره الفنیّه الشعریّه. ومن هذا المنطلق نرى الشاعر علی کنعان قد برع فی توظیف اللقطه السینمائیّه التی تجلّت فی اشعاره وخاصّه دیوانه غیوم الخشخاش اذ قام الشاعر باثرائه عن طریق اللقطات السینمائیّه. تستعرض هذه الدراسه عَبرَ المنهج الوصفی –التحلیلی، انواع اللقطات السینمائیّه فی دیوان غُیومُ الخَشْخاش الذی جاء فیه الشاعر بالرویه السینمائیّه. ومن اهم المحاور التی یدور هذا البحث حولها هی: اللقطه الموضوعیّه واللقطه الصوتیّه ولقطه نادیر ولقطه ماکرو او اللقطه التفصیلیّه. و اهم ما توصل الیه هذاالبحث هو الکشف عن مدى افاده الشاعر من اللقطه السینمائیه فی دیوانه غیوم الخشخاش الذی ادّى الى تجسید الاشیاء بصوره شفافه ،کما حاول الشاعر استثمار اللغه السینمائیه فی بنیه نصه الشعری لیظهر لنا من خلالها لقطات شعریه تتجسد فی مخیله المتلقی.

Using the cinematic shot in Ali Kanaan’s poetry (Case Study: Ghouywm Alkhashkhash)

The shot and its types are intended to mean how the camera stands in the places where cinematography appears in the film, from someone or the things to focus on.The poetic image was characterized by many developments and changes in recent decade and one of the most prominent domains affected by the poetic image is cinema, especially by benefiting the techniques and types of shot that the contemporary poet uses in the poetic artistic image. From this standpoint, we see the poet Ali Kanaan excelled in employing the cinematic snapshot that was reflected in his poems. In particular, his book, ghoyum alkhashkhash which the poet enriched from movie clips.  Through this descriptiveanalytical approach, this study reviews the types of cinematic footage in the book of “ghoyum alkhashkhash” by Ali Kanaan who came in his poems with cinematic vision. Among the most important axis that this research revolves around are: the substantive snapshot, the audio snapshot, the Nadir snapshot, the macro snapshot, or the detailed snapshot. The most important results of the research show that Ali Kanaan has used all kinds of cinematic scenes in the divan of Ghayoum AlKhakhshakh in a way that it has given special feelings to the poetic image and has led to the clear visualization of images and phenomena. The poet has also tried to use cinematic language in her poetic structure and to reveal the poetic scenes that are embodied in the mind of the audience.