دراسة أسلوبية" في شعر سليمان دغش

Abstract

This study deals with the poetry of Sulaiman Daghash- a stylistic study- in his poetic production in full, to reveal the stylistic characteristics of his poetic speech, identify the main features that characterize it and shed light on important aspects of our Palestinian poetic heritage to reflect the distinction and creativity of our Palestinian poets. The study is divided as follows: Introduction, preface, three chapters and conclusion. The preface dealt with the biography of Suleiman Daghash, and identifying the life of the poet.The first chapter is entitled Stylistics(theoretical study), in which I dealt with the concept of Stylistics and the methodology adopted by the study. Stylistics is a method, but not a science which has laws and fixed norms. I also dealt with stylistics in the critical and rhetorical heritage in order to establish a bridge of communication between the ancient critical and rhetorical heritage and modern stylistics. Moreover, I dealt with stylistics in modern criticism, its most prominent pioneers in the Arab world, its principles which are based on selection, displacement, horizontal axis and vertical axis.The second chapter is entitled (Semantic Axes), in which the first part traces the individual structure of the earth and its poetic significance. The second part of this chapter was allocated for the study of the contradictory relationships in the poetry of Daghash, which came in two demands: First, displacement and return and secondly, stability and transformation. The third part of this chapter dealt with intertextuality which came in three demands: religious intertextuality, historical intertextuality, and mythical intertextuality.The third chapter is the structural level which was devoted to the study of linguistic structures and their implications. It includes the topics of advancement, delay and deletion. They have been analyzed according to their contexts to serve the text and poetic experience of the poet .The second part of this chapter dealt with the rhythmic structure of Sulaiman Daghash, which came in two demands: The first one is the internal music represented in: homonymy, redundance, division and vice versa, and the second one - external music represented in: rhythm and rhyme.