The Poetic Portrait between the Poet's Tools and the Culture of the Contemporary Critic (critical approach | ||||
| مجلة كلية الآداب - جامعة القاهرة | ||||
| Volume 2020, Issue 4, April 2020 | ||||
| DOI: 10.21608/jarts.2020.100116 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Sarah Abdel-Malik Al-Sharif | ||||
| Assistant Professor, Department of Arabic Language - College of Languages and Translation, University of Jeddah | ||||
| Abstract | ||||
| This study deals with a theme of criticism of a literary phenomenon, i.e. the poetic portrait. It aims to know the effectiveness of the critical language exchanged between poetry and artistic composition in contemporary literary criticism, which still overlooks aspects of criticism of this type of texts. Therefore, this research will discuss this problem in three topics: The first is poetry and artistic composition. This topic focuses on the nature of the relationship between poetry and artistic composition and its history through the ages. The second topic: elements of the portrait. This section shows the elements of the formation between poetry and artistic composition through talking about the characteristics of the artistic image common between them. The third topic: criticism of artistic composition of the poetic portrait. It discusses the problem of the language of criticism exchanged between poetry and artistic composition. The analytical descriptive method of the literary phenomenon and its details was used in this study to achieve a critical approach to the mechanisms of analysis of the poetic portrait in order to uncover its aesthetic characteristics. Results showed that, in the language of the poetic portrait, the reciprocal relationship between poetry and painting is illustrated in sharing terms and the tools that constitute the artistic structure of the aesthetic and cultural discourse of each. The contemporary critical language overlooks aspects of the critique of poetic portrait, and lacks the necessary culture in dealing with the specificity of these aesthetic texts. This criticism should benefit from the relationship between artistic composition of fine arts and poetry, and highlight the usefulness of using other tools of arts during the critical examination. As artistic criticism borrows tools of poetic criticism, the opposite should be also true in order that the critical artistic culture becomes part of the modern critical thought. | ||||
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