التوظيف الفني للأساليب الإنشائية ودلالاتها في الشعر الفلسطيني المقاوم.

aqani Isfahani***
Abstract
It is no wonder that literary life has a close connection with political and social life. Literature in its various forms, such as poetry, novels, stories, etc., is considered an essential tool for the writer, through which he embodies the different aspects of the life of human society. It can be said that the Palestinian poetry of resistance is one of the most beautiful genres of literature, which plays a decisive, remarkable and continuous role in monitoring political and social events that directly affected it in its development and the renewal of its methods.
The Palestinian poetry of resistance has developed in terms of style and its levels. Compositional methods are among the most important means that poets employ to express what is going on in their souls and reveal their experiences and events that they live through. It is also an important tool that reveals the aesthetics of the literary text and its artistic features. Compositional methods have become an integral part of the structure of the Palestinian poetic text of resistance, which has occupied a large part of its field.
It is necessary to study this phenomenon based on what many scholars of rhetoric and researchers in the field of stylistics have said, as it has a remarkable effectiveness in the production of semantics, in addition to that it reveals the extent of the aesthetics inherent in the literary text; Where we notice that Abd al-Qaher al-Jurjani emphasized the importance of linking grammatical meanings in analyzing the literary text, as the advantage in speech lies in the meanings of grammar and linguistic structure.From this point of view, this study aims to reveal the distribution of the employed compositional styles and their patterns in the Palestinian resistance poetry and to know their artistic and rhetorical implications and phenomena. It should be noted that the researchers dealt with the methods of requesting composition in the selected poetry books, trying to identify the methods of poets using these methods and their implications in his poetry. As for the methods of non-requesting composition, we have disregarded them for the paucity of purposes related to them. We also refused to study the methods of prohibition and wishing because of their scarce presence in the collections.To achieve the objectives of the research, the study followed the descriptive-analytical and statistical approach. It also seeks to answer the following questions:
- How were the structural styles distributed in the Palestinian resistance poetry?
- What are the implications resulting from the structural methods employed in this type of poetry?
- Why did poets use these methods in their poetry and what are the artistic features that distinguish these methods in their poems?
As for the research sample, it is limited to five collections: 1- My Homeland Within the Siege by Samih Sabbagh; 2- Now take my body a sack of sand by Moein Bseiso; 3- Do not steal the sun from us by Ibrahim Al-Muqadamah; 4- It is Jerusalem by Nabila Al-Khatib; 5- The Palestinian wound and blood buds by Zainab Habash. Through a close reading of the various studies, we noticed that most of the previous studies have shed light on the rhythmic aspects represented in the rhyme and repetition of the Palestinian poetry of resistance.
We did not find studies that address the structural methods and the rhetorical and artistic features that characterize the Palestinian resistance poetry through the use of compositional methods. So this study seeks to shed the lights on an aspect that the researchers did not care about. What the article concluded is that the requesting compositional styles have a varying presence in the selected poetry books. The call, the command, and the interrogative lead the percentage of presence in percentages of (39.25%), (28.12%), and (27.92%), respectively, then the negative comes after it in a small scale, with a percentage of (3.32%), regarding wishing, as compared to all other compositional styles, it has obtained a slight degree of availability of (1.36%) in the structure of Palestinian poetry.
The one who meditates on the structure of the Palestinian poetic text finds that the addressee and what is related to it is considered an essential part that revolves around the Palestinian poetry of resistance. We often find that the Palestinian poet calls out to what is not specific, aiming to spread the spirit of solidity and steadfastness in various parts of the world, and he resorts to deleting the call when addressing the homeland, in order to bring his feelings closer and the distance of his love from the occupied homeland. The repetition of the call at the beginning of the poetic lines is one of the artistic methods that poets deliberately used, aiming behind it to draw the attention of the recipient and focus his attention on the importance of what follows the call.
With regard to the methods of command, we find that the receiver in the methods of command is the focus of the message and the axis of the saying. The poets, by doing the command, moved away from its original connotation and idiomatic meaning to new connotations, through which they were able to reveal their goals and intentions such as guidance and advice, threats and challenges, ridicule and underestimation of the Zionist enemy, and expressing regret for what happened to the aggrieved Palestinian people, urging to continue the struggle until the siege is broken, glorifying heroism and praising the steadfastness of the fighters, etc.
The interrogative style is a remarkable presence in the poetry books among the compositional methods after the call and the command and that is because of its performative ability to express the feelings and visions of the poets in different situations, and to attract the recipient to interact with the goals they seek behind the interrogation. Lamentation over the killing, destruction, and displacement of the Palestinian people is one of the most frequent indications in the poets’ poems, using various interrogative methods as an artistic phenomenon.