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الإسم : د.عاطف كنعان

الرتبة العلمية: أستاذ مشارك

المسمى الوظيفي: رئيس قسم

المكتب 6100       الرقم الفرعي 6100

بريد الكتروني: akanan@uop.edu.jo

التخصص: اللغة العربية وآدابها

جامعة التخرج: الآردنية

المؤهل العلمي

    المؤهل العلمي

    الجامعة

    البلد

    سنة الحصول على المؤهل

    الدكتوراه
    الآردنية
    الاردن
    1997



  • Book





      :الملخص
      B




      عاطف كنعان, " Magic and Poetry for Lisan Al deen bin Alkadib " , "",Vol.,No., , , 05/07/2007 :الملخص
      وَجَّهَتْنا شَطْرَ الحاجِرِيِّ وشِعْرِه أسبابٌ كَثيرَةٌ؛ لَعَلَّ أهمَّها شُهْرَتُه الّتِي طبَّقَتِ الآفاقَ عِنْدَ أهْلِ عَصْرِهِ وَمَنْ وَلاهُمْ، فانْتَشَرَ دِيوانُهُ بأيْدِي النّاسِ انتِشارًا واسِعًا، وأطْلَقُوا عليْهِ (بُلْبُلَ الْغَرامِ)، لِما فيهِ مِنْ رِقَّةٍ وعُذوبَةٍ؛ فكأنَّهُ إذْ يَقُولُ شِعْرًا يَصْدَحُ غِرِّيدًا. ولَيْسَ فِي مُكْنَةِ أيِّ شاعِرٍ أنْ يُحَقِّقَ مِثْلَ تلْكَ الشُّهْرَةِ الواسِعَةِ إلاّ إذا تَوافَرَ لشِعْرِهِ مِنَ الخصائِصِ ما يَجْعَلُه قريبًا مِنْ قُلوبِ الْمُتأدِّبِينَ، والعامَّةِ أيْضًا. أمّا السَّبَبُ الثّانِي، فَهُوَ الرَّغْبَةُ في البَحْثِ عَنْ أسْبابِ تِلْكَ الشُّهْرَةِ؛ إذ إنَّ شُهْرَةَ شاعِرٍ وُلِدَ وعاشَ وماتَ في حِقْبَةٍ اتَّسَمَتْ بأنَّها حِقْبَةُ حُروبٍ ومعارِكَ طاحِنَةٍ، وبِكَوْنِها شَهِدَتْ أَعْتَى هَجْمَتَيْنِ عَلى دِيارِ العُروبَةِ والإسلامِ، وهُوَ لَمْ يَتَجاوَزِ الغَزَلِيّاتِ والْخَمْرِيّاتِ والأهاجِي وَالسِّجْنِيّاتِ، أَمْرٌ غَريبٌ يُثِيرُ شَهِيَّةَ الباحِثِ والنّاقِدِ والْمُؤرِّخِ عَلى سَواءٍ، وقد ارْتَأيْنا أنَّ في نَشْرِ شِعْرِهِ عَلى النّاسِ ما قَدْ يُعِينُ عَلى تَبَيُّنِ مَلامِحِ عَصْرِهِ أكْثَرَ مِمّا هِيَ عليْهِ مِنَ الْوُضُوحِ. وَمِنَ الأسْبابِ الْمُهِمَّةِ الأُخْرَى الَّتِي دَعَتْ إِلَى تَحْقِيقِ دِيوانِ الحاجِرِيِّ كَوْنُهُ مِمّا لَمْ يَلْتَفِتْ إِلَيْهِ أحَدٌ مِنْ أهْلِ عَصْرِنا هذا، فظَلَّ دِيوانُهُ طَيَّ النِّسْيانِ، وقَدْ نُشِرَت دَواوِينُ لِشُعَراء كُثْرٍ مِمَّن عاصَرُوا الحاجِرِيَّ، أو عاشُوا قَبْلَهُ أوْ بَعْدَهُ بِقَلِيلٍ، وقَدْ رَأيْنا أنَّهُ لا يَقِلُّ عَنْ أولئِكَ شاعِرِيَّةً وَلا قَدْرًا، فَضْلاً عَنْ أنَّ أهْلَ عصْرِهِ أشادُوا بِهِ وبِشِعْرِه، وعَدُّوهُ فِي القلائِلِ الّذينَ أجادُوا فِي الشِّعْرِ والْمَوالِيا والدُّوبِيت، ولعلَّهُم قصَدُوا بِذلكَ إِلَى أنَّهُ كانَ يُتْقِنُ فُنونَ الشَّعْرِ الْفَصِيحِ، وفُنونَ الشِّعْرِ الشَّعْبِيَّة. وقَدْ حاوَلَ الْمُحَقِّقانِ جُهْدَهُما أنْ يَجْمَعا مَخْطُوطاتِ دِيوانِ الحاجِريِّ ما استَطاعا إِلَى ذلكَ سَبِيلاً، وتوخَّيا أَنْ يُخْرِجاهُ في أدقِّ صُورَةٍ وأجْمَلِها، وسَعيا إِلَى التَّوْثِيقِ والشَّرْحِ ما أَمْكَنَهُما مِنْ دُونِ أنْ يُثْقِلا الْحَواشِيَ والْهَوامِشَ؛ لِيَظَلَّ مَتْنُ الشِّعْرِ سَلِيمًا قَرِيبًا، ولِهذا ما قدَّما مُعْجَمَ الْمَكانِ عِنْدَ الحاجِرِيِّ، وجَعَلاهُ مُسْتَقِلاًّ فِي مقدِّمَةِ الدِّيوانِ. وإذا كانَ مُعاصِرُو الحاجِرِيِّ لَمْ يَذْكُرُوا تفْصِيلاتٍ كَثِيرَةً عَنْ حَياتِهِ؛ فَقدْ كانَ لِزامًا عَلى الْمُحَقِّقَيْنِ أنْ يُحاوِلا رَسْمَ مَعالِمِ تِلْكَ الْحَياةِ، مُسْتَنِدَيْنِ في ذلكَ إِلَى الْمَعْلُوماتِ اليَسِيرَةِ الَّتِي وفَّرَتْها مَصادِرُ تَرْجَمَتِه، ثُمَّ أتْبَعا بِذلكَ دِراسَةً لِشاعِرِيَّةِ الحاجِرِيِّ، ووصْفًا لِمَخْطُوطاتِ دِيوانِه، وجَعَلا مُعْجَمَ الْمَكانِ في شِعْرِهِ في آخِرِ هذا كُلِّه. وقَدْ اعْتَمَدَ الْمُحَقِّقَانِ في تَحْقِيقِهِما دِيوانَ الحاجِرِيِّ مَنْهَجًا يَتَّصِفُ بالْجِدَّةِ، فأثْبَتا ما اتَّفَقَتْ فيهِ الْمَخْطوطاتُ كُلُّها مَعَ نَسْخَةِ الأصْلِ أوَّلاً في كُلِّ بابٍ مِنْ أبْوابِ الدِّيوانِ، مُحافِظَيْنِ بِذلكَ عَلى نُسْخَةِ الأصْلِ وَما جاءَ فيها، ثُمَّ ألْحَقا ما ورَدَ في الْمَخْطُوطاتِ الأُخْرَى مِمّا لَمْ يَرِدْ في الأصْلِ بِكُلِّ بابٍ مِنْ الأبْوابِ، وقَدْرُ هذا الشِّعْرِ وَمِقْدارُهُ لَيْسا قَلِيلَيْنِ. ثُمَّ صَنعا لشِعْرِ الحاجِرِيِّ فَهْرَسَيْنِ: أَحَدُهُما بِحَسَبِ ما وَرَدَ في نُسْخَةِ الأصْلِ مِنْ تَبْوِيبٍ وَتَرْتِيبٍ، والآخَرُ فَهْرَسٌ مُرَتَّبٌ بِحَسَبِ الْقَوافِي. ولا يَفُوتُنا في هذا السِّياقِ أنْ نتقدَّمَ بِخالِصِ التَّقْدِير لِعَمادَةِ الْبَحْثِ الْعِلْمِيِّ بِجامِعَةِ الْبَتْرا الخاصَّة - لا سِيَّما الأسْتاذ الدُّكْتُور نِزار الرَّيِّس عَمِيد الْبَحْثِ الْعِلْمِيِّ - عَلَى ما تَقُومُ بِهِ مِنْ جُهْدٍ دَؤوبٍ مُخْلِصٍ في خِدْمَةِ الْبَحْثِ والباحِثِينَ، ونَشْكُرُ للعامِلِينَ فِيها تَفَضُّلَهُمْ بِطِباعَةِ هذا الْعَمَلِ. وبَعْدُ، فَهذا ما اقْتَدَرْنا عَلَى إنْجازِهِ، راجِيَيْنِ أنْ يَكُونَ دَقِيقًا مَضْبُوطًا، يَخْدِمُ دِيوانَ الْحاجِرِيِّ (بُلْبُلَ الْغَرامِ)، ويُعِيدُ إِلَيْهِ مَكانَتَهُ في حَرَكَةِ الشِّعْرِ العَرَبِيِّ. فَإِنْ زَلَّ الْقَلَمُ فَحْسْبُنا أنَّنا اسْتَفْرَغْنا الْوُسْعَ، واسْتَنْفَدْنا الْجُهْدَ، وآخِرُ دَعْوانا أَنِ الْحَمْدُ للهِ رَبِّ العالَمِينَ Download




      عاطف كنعان, " 2 " , "",Vol.,No., , , 07/07/2007 :الملخص
      This study investigates the principled though and philosophy of the Jahili’s person toward the human existence, through the examination of the Sakhr Al-Ghay’s elegies, as a repesentative of Hutheil’s poets, to arrive at a thorough understanding of their philosophy of death that is offered in their elegy. The study assumes that the human being since primitive times has build a controversial relationship in his vision to life and death when he started searching for the secret of his existence, comparing that with some natural phenomena. Hutheil’s poet is no different that the poets of his time in this regard, because the issue of existence was the foremost concern that occupied his mythological thinking. His stance toward death, as he stood condoling his brother, was at first one of denial, formed by his deep love to his brother, but then he gave in to the mighty power of nature and destiny. In Mr. Al-Huthaly’s view of life and death, he made a group of nature’s creatures existential correlative to his dead brother. He believed that these creatures, or some of them, were able to beat the power of nature and destiny, since they live in strongholds up in the mountains, like the female eage and the hyena. But thereafter he realized that these creatures could not beat death. Connecting these creatures with the person being condoled made the poet realize that all creatures, strong and weak, yield to death by other living creatures, or by cosmic phenomena of matter, as the way the poet’s brother died : by a snake bite, the female eagle died when collided with a rock, and the hyena got hunted by a hunter. So, as these creatures struggle among themselves, they are all defeated in the face of destiny and death Download


  • Journal Paper





      عاطف كنعان, " الغربة والاغتراب في شعر الإمام الشافعي " , "",Vol.,No., , , 09/03/2009 :الملخص
      This paper studies the portrayal of displacement and alienation in Shafi’s poetry. It also investigates the reasons and the impact these two themes have on his work. This investigation is carried out because Shafi’s alienation, as portrayed in his poetry, is unlike any other in that it takes place due to his quest for knowledge and displacement from his homeland. It is thus clear that this alienation, which came as a direct consequence of his continuous travels as well as the financial and psychological hardships he experienced, led to his frustration and bitterness. Because of these social and psychological circumstances, Shafi complained bitterly of his contemporaries and the contradictions prevalent at the time which, in turn, resulted in his portrayal of the tragic reality he was living; a reality which can only be tolerated by the pious. Therefore, it is my contention that the readers of Shafi’s autobiography and poetry ought to benefit from his experience and learn a lesson from the sufferings of other Arab scholars. Download




      عاطف كنعان, " صاديَّة عبيد بن الأبرص دراسة اسلوبية " , "",Vol.,No., , , 07/01/2011 :الملخص
      This paper studies the Assadiyah poem by the Pre-Islamic poet Obeid Bin Al-Abras. It investigates the phonological, structural and rhetorical aspects of the poem from a stylistic perspective in an attempt at identifying the stylistic features prevalent in the poet's discourse and at understanding the poet's motives and intentions underlying the usage of such features. It is believed that the poet's discourse, governed by the special social circumstances associated with the Pre-Islamic era, may have influenced the linguistic make-up of his poetry which is controlled by well-defined aesthetic norms and conventions. The study also looks at the linguistic and aesthetic features used by the poet in portraying the images represented in the poem Download




      عاطف كنعان, " الصورة وبناء القصيدة الهذلية " , "",Vol.,No., , , 09/01/2011 :الملخص
      This study seeks to explore the elements of crealing imagery by the poet of the ancient Hutheil tribe, according to a set of sensony and emotional persiption.The study also attempts to identify the relationships of similarities, contrast and opposition found in the structure of the poem. Another purpose of this study is to illuminate the linguistic features the poet employs and to what extent there features are connected to the poets social life, mychological state and living conditions. With the aim of knowing the areas of agreement and disagreement between the themes and the kind of ligurative language available hn the mutawalat "prolonged" poems. To achieve this tangle the study has decided on two examples in Hutheil poetry- the woman and the deserted camping- site of the poets loved ones- to examine the relationship of the poetic self with the overall subject matter of the poem, and the relationship of each single subject with the other subjects. This is due to the presence of an external relationship that lies in poets vision of what can be conceived conscioualy or unconscioualy, and an internal relationship that shows how far the contents of the poem harmonise with its linguistic qualities. This study also aims at making the two examples of the woman and the deserted camping- site of the beloved two basic measurements and which the poems framework is built, which can be done by comparing each example with other four examples, having the same theme and taken from four different poems other huthaila poets to determine the areas of similarities and differences between them in order to reach a judgement on how the huthail poets structure their poems particulary, in their long norrative poems with their multiple interests and diverse events. Download




      عاطف كنعان, " 1 " , "",Vol.,No., , , 07/07/2007 :الملخص
      This study investigates the principled though and philosophy of the Jahili’s person toward the human existence, through the examination of the Sakhr Al-Ghay’s elegies, as a repesentative of Hutheil’s poets, to arrive at a thorough understanding of their philosophy of death that is offered in their elegy. The study assumes that the human being since primitive times has build a controversial relationship in his vision to life and death when he started searching for the secret of his existence, comparing that with some natural phenomena. Hutheil’s poet is no different that the poets of his time in this regard, because the issue of existence was the foremost concern that occupied his mythological thinking. His stance toward death, as he stood condoling his brother, was at first one of denial, formed by his deep love to his brother, but then he gave in to the mighty power of nature and destiny. In Mr. Al-Huthaly’s view of life and death, he made a group of nature’s creatures existential correlative to his dead brother. He believed that these creatures, or some of them, were able to beat the power of nature and destiny, since they live in strongholds up in the mountains, like the female eage and the hyena. But thereafter he realized that these creatures could not beat death. Connecting these creatures with the person being condoled made the poet realize that all creatures, strong and weak, yield to death by other living creatures, or by cosmic phenomena of matter, as the way the poet’s brother died : by a snake bite, the female eagle died when collided with a rock, and the hyena got hunted by a hunter. So, as these creatures struggle among themselves, they are all defeated in the face of destiny and death


  • Conference paper





      د عاطف كنعان, " تماهي الزمن الذاتي بالجمع في شعر ناصر الدين الاسد " , "",Vol.,No., , , 01/01/2013




      د عاطف كنعان, " الخطاب الشعري في عينية الحادرة قراءة لسانية " , "",Vol.,No., , , 01/01/2013
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