|
|
|
|
|
Yazar
|
:
Mohammed Radhee GHADHEB
- Ali Abdul-Hussein Mohsen JAAFAR & Amin Abdel Zahra Yassin AL-NOURI
|
|
|
Türü |
:
|
|
Baskı Yılı |
:
2020
|
|
Sayı |
:
57
|
|
Sayfa |
:
69-86
|
|
DOI Number: |
:
|
| Cite : |
Mohammed Radhee GHADHEB - Ali Abdul-Hussein Mohsen JAAFAR & Amin Abdel Zahra Yassin AL-NOURI , (2020). INTETEXTUALITY AND ITS REPRESENTATION COMPOSITION LINE AL-THALITH AL-JALIE. Route Education and Social Science Journal , 57, p. 69-86. Doi: 10.17121/ressjournal.2859.
|
|
872 1323
|
Özet
The term “intertextuality” denotes what corresponds to the topics of interaction, textual sharing and others, with evidence of the relationship between expressions and the production of other texts related to, such as the idea, appearance, and production in general, and the fact that these texts are the basis of the continuity and continuity of the works of the art of Arabic calligraphy, In particular, the representations of the Thuluth Jalie calligraphy configurations, To continuation and succession the artistic impact, In order to update this artistic formations and refine it, this approach was found by the researchers, which is actually fully compatible with the nature of intertextuality and its work in criticism, story, and novel. In the midst of that, the research aimed at studying (The Intertextuality and its representation in the Thuluth Jalie calligraphy), Which included four chapters, the first included the research problem and its importance and objectives and limitations and terms, while the second contained two topics, the first topic dealt with the concept of intertextuality "reference and meaning", and the second topic came to identify the mechanisms of intertextuality and its representations in the clear third line, and the third chapter came to represent the research procedures Through reliance on the descriptive approach (content analysis), and knowing the number of society that reached (96) configuration, (10) models were selected from them, they were analyzed, and the analysis concluded with a number of results, the fourth chapter clarified the most important of them, that intertextuality in the Thuluth Jalie calligraphy works Multiple are divided into (sectional, traditional, relational, iconographic, ornamental script), And it turned out that some of the calligraphy formations of the later calligrapher, which were based on the sequence of the earlier formations, to their liking and influence them and their promise is a generative process in order to expand and develop the enrichment of Arabic calligraphy art in general. The study recommended the inclusion of curricula concerned with the art of Arabic calligraphy as applied lessons, focusing on the possibility of benefiting from modern monetary trends and the extent of their influence on it, and the possibility of relying on research findings to guide students of the art of Arabic calligraphy to produce calligraphy configurations with competitive tendencies derived from others, and a stylistic study was suggested, the representations in the formations of Arabic calligraphy.
Anahtar Kelimeler
Abstract
The term “intertextuality” denotes what corresponds to the topics of interaction, textual sharing and others, with evidence of the relationship between expressions and the production of other texts related to, such as the idea, appearance, and production in general, and the fact that these texts are the basis of the continuity and continuity of the works of the art of Arabic calligraphy, In particular, the representations of the Thuluth Jalie calligraphy configurations, To continuation and succession the artistic impact, In order to update this artistic formations and refine it, this approach was found by the researchers, which is actually fully compatible with the nature of intertextuality and its work in criticism, story, and novel. In the midst of that, the research aimed at studying (The Intertextuality and its representation in the Thuluth Jalie calligraphy), Which included four chapters, the first included the research problem and its importance and objectives and limitations and terms, while the second contained two topics, the first topic dealt with the concept of intertextuality "reference and meaning", and the second topic came to identify the mechanisms of intertextuality and its representations in the clear third line, and the third chapter came to represent the research procedures Through reliance on the descriptive approach (content analysis), and knowing the number of society that reached (96) configuration, (10) models were selected from them, they were analyzed, and the analysis concluded with a number of results, the fourth chapter clarified the most important of them, that intertextuality in the Thuluth Jalie calligraphy works Multiple are divided into (sectional, traditional, relational, iconographic, ornamental script), And it turned out that some of the calligraphy formations of the later calligrapher, which were based on the sequence of the earlier formations, to their liking and influence them and their promise is a generative process in order to expand and develop the enrichment of Arabic calligraphy art in general. The study recommended the inclusion of curricula concerned with the art of Arabic calligraphy as applied lessons, focusing on the possibility of benefiting from modern monetary trends and the extent of their influence on it, and the possibility of relying on research findings to guide students of the art of Arabic calligraphy to produce calligraphy configurations with competitive tendencies derived from others, and a stylistic study was suggested, the representations in the formations of Arabic calligraphy.
Keywords
|
|
