تکنیک‌های هنری «القصیدة الومضة» در آثار شعری نجاة عبداللّه

ﺷﻌﺮ ﮐﻮﺗﺎه در ادب ﻣﻌﺎﺻﺮ ﻋﺮﺑﯽ ﺷﺎﻫﺪ ﺗﺤﻮﻻت ﻣﺘﻌﺪدی ﺑﻮده ﮐﻪ آﺧﺮﯾﻦ آن ﺑﺎ اﺻﻄﻼﺣﺎت ﻣﺘﻌ ّﺪدی از ﺟﻤﻠﻪ »ﻗﺼﯿﺪة اﻟﻮﻣﻀﺔ« ﺷﻨﺎﺧﺘﻪ ﻣﯽ ﺷﻮد. »ﻗﺼﯿﺪة اﻟﻮﻣﻀﺔ« ﺷﻌﺮی اﺳﺖ ﮐﻮﺗﺎه و ﻓﺸﺮده، دارای ﺳﺎﺧﺘﺎری ﻣﺘﻨﺎﻗﺾ، درﺑﺮدارﻧﺪه ﭘﺎﯾﺎﻧﯽ ﺗﻌﺠﺐﺑﺮاﻧﮕﯿﺰ، و ﻣﻨﺎﺳﺐ ﺗﺮﯾﻦ ﻗﺎﻟﺐ ﺑﺮای ﺑﯿﺎن ﻟﺤﻈﻪﻫﺎی ﮔﺬرای ﺷﺎﻋﺮاﻧﻪ. ﻧﺠﺎة ﻋﺒﺪاﻟﻠّﻪ ﺻﺪاﯾﯽ ﺑﺴﯿﺎر زﯾﺒﺎ در ﺗﺮﺳﯿﻢ ﻧﻘﺸﻪی ﺷﻌﺮی زﻧﺎن ﻋﺮاق اﺳﺖ ﮐﻪ ﺑﺎ آﻓﺮﯾﻨﺶ ﮔﺮی در اﯾﻦ زﻣﯿﻨﻪ، آﺛﺎر ﺑﯽ ﻧﻈﯿﺮی را ﺳﺮوده اﺳﺖ. ﭘﮋوﻫﺶ ﺣﺎﺿﺮ ﺑﺎ ﺗﮑﯿﻪ ﺑﺮ روش ﺗﻮﺻﯿﻔﯽ-ﺗﺤﻠﯿﻠﯽ، ﺑﺮ آن اﺳﺖ ﺗﺎ ﺑﻪ ﺗﺮﺗﯿﺐ ﺗﮏ ﺗﮏ آﺛﺎر ﺷﻌﺮی ﻧﺠﺎة ﻋﺒﺪاﻟﻠّ ﻪ را ﻣﻮرد ﻣﻄﺎﻟﻌﻪ ﻗﺮار دﻫﺪ و در ﻧﻬﺎﯾﺖ ﺑﻪ ﺑﺮرﺳﯽ ﻣﻬﻢﺗﺮﯾﻦ ﺗﮑﻨﯿﮏﻫﺎی ﻫﻨﺮی »ﻗﺼﯿﺪة اﻟﻮﻣﻀﺔ« ﺑﺮای ﺗﺮﺳﯿﻢ ﻓﺸﺮده ﮔﻮ ﯾﯽ در ﻫﺮ دﻓﺘﺮ ﺷﻌﺮ ی ﺑﭙﺮدازد؛ ﻋﻼوه ﺑﺮ اﯾﻦ از واﮐﺎوی ﻣﺤﺘﻮ ا ﻧﯿﺰ ﭼﺸﻢ ﻧﭙﻮﺷﯿﺪه اﺳﺖ. ﺷﺎﻋﺮ در آﺛﺎر ﺧﻮد ﺑﺮای ﺑﯿﺎن ﻣﻀﺎﻣﯿﻨﯽ ﻫﻤﭽﻮن وﻗﺎﯾﻊ دﻫﻪ ی ﻫﺸﺘﺎد، ﻏﺮﺑﺖ، اﺷﻐﺎل، ﺟﻨﺎﯾﺖ ﻫﺎی داﻋﺶ، داﻏﺪﯾﺪﮔﯽ، اﻧﻘﻼب ﺗﺸﺮﯾﻦ و ﻣﻀﺎﻣﯿﻨﯽ از اﯾﻦ دﺳﺖ، ﺑﻪ ﺗﮑﻨﯿﮏﻫﺎی ﺑﺮﺟﺴﺘﻪ ای در ﺳﺎﺧﺘﺎر و ﺷﮑﻞ ﻣﺘﻦ از ﺟﻤﻠﻪ زﺑﺎن ﺗﺼﻮ ﯾﺮﮔﺮی، ﻧﻮزاﯾﯽ، ﻋﻼﻣﺖﻫﺎی ﺑﺼﺮی، ﺳﻔﯿﺪﻧﻮ ﯾﺴﯽ، ﻓﺮﺿﯿﻪ ﺳﺎزی، ﺗﮏ ﮔﻮ ﯾﯽ، واروﻧﻪﮔﻮ ﯾﯽ، ﮐﺎﻧﻮﻧﯽ ﺳﺎزی و ﺗﻘﺎﺑﻞ ﻫﺎی دوﮔﺎﻧﻪ ﻣﺘﻮﺳﻞ ﻣﯽﺷﻮد ﺗﺎ از اﯾﻦ رﻫﯿﺎﻓﺖ ﺑﺘﻮاﻧﺪ ﻣﺨﺎﻃﺐ ﺧﻮد را از ﺣﺎﻟﺖ اﻧﻔﻌﺎل ﺧﺎرج ﮔﺮداﻧﺪ و ﺑﺎ ﮐﻤﺘﺮﯾﻦ واژه )ﻓﺸﺮده ﮔﻮ ﯾﯽ(، ﺑﯿﺸﺘﺮﯾﻦ ﺑﯿﻨﺶ ﺧﻮد را اراﺋﻪ دﻫﺪ.

artistic techniques in the flash poems composed by najat abdullah

introduction: in literary terminology, a flash poem refers to a poem that suddenly sparks in the poet's mind, and then he expresses the perception in highly condensed phrases. this ultimately surprises the reader with a multitude of meanings conveyed through a limited number of words. arab literary critics have varied perspectives on the definition of flash poetry, but ezz al-din al-monasra, a pioneer of this poetic genre, seems to have provided a more comprehensive definition. according to him, it is a short and condensed poem with a paradoxical structure and a surprising ending to express fleeting poetic moments. najat abdullah is a contemporary iraqi poetess who portrays her poetic experiences as fleeting moments in the shortest form possible. given the type of poetic form that she presents to her audience, she has been considered a modernist poetess in mapping the poetic landscape of women. her anthology in the field of flash poetry attests to the fact that she is always seeking creativity in terms of worldview, themes, and techniques. in the first encounter with her poetry, the reader clearly finds that she pushes the frontiers of creativity in each of her poem collections and thinks of new techniques. methodology: this research is based on the descriptive-analytical method and employs a critical approach to study najat abdullah's poetic works in order and ultimately examine the most important artistic techniques for depicting conciseness of flash poetry in each of her collections. in addition, the study does not overlook the analysis of the content of her poetic flashes in each collection. the questions to answer are as follows: a) what are the artistic techniques for depicting conciseness in the flash poems of najat abdullah? b) what is the content of the flash poems in najat abdullah's works? results and discussion: ezz al-din al-monasra believes that flash poetry has grown out of the legacy of the past arabic literature and that it dates back to the art of 'toqi'at'. as taha hussein believes, however, the origin of this type of poetry lies beyond the borders of the arabic literature and, in terms of brevity, it is reminiscent of ancient japanese poetry (haiku). this type of poetry is a new topic in the contemporary arabic poetry, and a number of researchers have addressed and examined its hidden aspects. what most researchers agree on is that a flash poem has three important characteristics; if it lacks one of these characteristics, it cannot be called a flash poem. what is certain is that the poem must lead to the reader's surprise. the characteristics are compression, contradiction and opposition, and surprising ending. this research seeks to address the most important artistic techniques of flash poetry in the element of conciseness. each of najat abdullah's poetic works is analyzed and examined, starting from the publication of her first poetry collection (1996) until today. the poet has used three poetic forms in her collections: long poem, medium-length poem, and flash poem, with the most common form in all flash type collections. in order to convey a kind of surprise to the audience with the fewest words (conciseness), the poetess resorts to artistic techniques for further differentiation of this type of poetry. these techniques in her collections are imagery, neologisms and linguistic renewal, visual signs, blank verse, hypothesizing, internal monologue, inversion, focusing on words, and dual oppositions. conclusion: najat abdullah is a contemporary iraqi poetess who has a beautiful set of flash poems. from the very beginning, she found this type of poetry to be the most suitable form for expressing the short moments of her life, and she achieved unparalleled success in this regard. the flash poems in each of her collections have been written with a different experience. in order to adhere to the element of conciseness in poetry, the poetess uses different technique to express her experiences. in her first collection, she uses the technique of imagery to express the wars of the 1980s in iraq and the resulting events. in the second collection, she expresses her new understanding of life with the technique of linguistic renewal. the third collection, which is the result of the events of the 1980s in iraq, is closer to visual poetry. the fourth collection, influenced by a severe sense of alienation, is written with the technique of blank verse to express this influence. the fifth collection is written about the events resulting from the occupation of iraq, and the poetess asks the audience to participate in her anxiety with the technique of hypothesizing. the sixth collection has the flavor of supplication, which reveals her spatial alienation and being intertwined with the technique of internal monologue. the content of the seventh collection addresses the inhuman crimes of isis, and the best technique to express these crimes is inversion. the eighth collection, with individual and collective memories and the experience of bereavement, is written with the most suitable technique, namely focusing on words. the last collection addresses the issues surrounding the iraqi teshreen revolution, and the poetess relies on the technique of dual oppositions.