كتابة النص: الأستاذ الدكتور يوسف أبو العدوس - جامعة جرش قراءة النص: الدكتور أحمد أبو دلو - جامعة اليرموك مونتاج وإخراج : الدكتور محمد أبوشقير، حمزة الناطور، علي ميّاس تصوير : الأستاذ أحمد الصمادي الإشراف العام: الأستاذ الدكتور يوسف أبو العدوس
فيديو بمناسبة الإسراء والمعراج - إحتفال كلية الشريعة بجامعة جرش 2019 - 1440
فيديو بمناسبة ذكرى المولد النبوي الشريف- مونتاج وإخراج الدكتور محمد أبوشقير- كلية تكنولوجيا المعلومات
التميز في مجالات التعليم والبحث العلمي، وخدمة المجتمع، والارتقاء لمصاف الجامعات المرموقة محليا واقليميا وعالميا.
المساهمة في بناء مجتمع المعرفة وتطوره من خلال إيجاد بيئة جامعية، وشراكة مجتمعية محفزة للابداع، وحرية الفكر والتعبير، ومواكبة التطورات التقنية في مجال التعليم، ومن ثم رفد المجتمع بما يحتاجه من موارد بشرية مؤهلة وملائمة لاحتياجات سوق العمل.
تلتزم الجامعة بترسيخ القيم الجوهرية التالية: الإلتزام الإجتماعي والأخلاقي، الإنتماء،العدالة والمساواة، الإبداع، الجودة والتميّز، الشفافية والمحاسبة، الحرية المنظبطة والمستقبلية.
الجنسية:أردني.
تاريخ ومكان الولادة: 2-10-1954/ صخرة- عجلون
الحالة الاجتماعية: متزوج (عدد الأبناء 5 )
العنوان : الأردن- اربد
1- دكتوراه أدب ونقد / شعر عباسي جامعة اليرموك / الأردن تاريخ التخرج 1999
2- ماجستير أدب ونقد / شعرعباسي جامعة اليرموك / الأردن تاريخ التخرج 1991
3- بكالوريوس اللغة العربية وآدابها جامعة بيروت العربية/ لبنان تاريخ التخرج 1980
1- عضو هيئة تدريس / كلية الآداب قسم اللغة العربية جامعة جرش 1/10/2002 - الآن
2- عضو هيئة تدريس / قسم اللغة العربية جامعة زايد / أبو ظبي 1999-2002
3- رئيس قسم اللغة العربية جامعة جرش 2015- 2020
4- المشاركة في عدة لجان في القسم خلال السنوات الماضية منها :لجنة الدراسات العليا 2011/2012، وعضوا في مجلس الجامعة 2012/2013،وعضوا في اللجان التحضيرية لعدة مؤتمرات نقدية في الكلة، ولجنة معادلة الموادوالخطة الدراسية 2014و 2015
5- مقرر للمؤتمرات النقدية في الأعوام من 2015/2016 وإلى 2020 وفي عام 2022 كذلك .
6- حضور عدد من الدورات التي عقدتها الجامعة مثل: دورة القياس والتقويم 2009 ،واللوح التفاعليوالتعليم التشاركي 2010 ، والوسائط المتعددة في التعليم الاكتروني 2011.
7- المشاركة بعضوية لجان مناقشة العديد من رسائل الماجستير في القسم وفي جامعة آل البيت وكذلك الإشراف .
AbstractThe artistic image is one of the most important pillars that the poet relies on to express the feelings and ideas within himself, he uses extreme degrees of imagination, which goes beyond all limits, to achieve the intended meaning and produce an artistic image in which the features of modern poetry emerge through the use of words, imagination, and connotation in a linguistic template that holds an abundance of significance. The poetics of the artistic image appear in the use of words and connotations to depict a fictional scene in which the poet exceeds the limits of reality to the world of wild imagination.It became clear to the researcher that the features of poetics were represented in the artistic image of Abu al-Atahiya, which he used in praise poems, as the poet excelled in selecting his artistic images, which carried many connotations that foretell the status and position of the one praised, which is evident in his praise of the Abbasid caliphs al-Mahdi, al-Hadi, and al-Rashid. He transitioned to the world of imagination to select some connotations of praise that existed in his time and mix them into an artistic image in which his poetic ability was highlighted.Keywords: Poetics of Imagery in the Praise Poems
ABSTRACTThe contemporary Arabic novel occupies a prominent position, and it carries complex issues. It speaks with the voice of the writer and discloses the pain of peoples, as we note the interest of most novelists on political issues in general, and social issues in particular. The social dimension is the most obvious in this fictional literary genre, because it addresses issues and problems of various types, and contributes greatly to building society and its advancement, if it is treated and dealt with in positive ways, and it may have a negative impact on society if it continues to be dealt with in accordance with the customs of society. and strict traditions. And it deals with our topic marked by the social dimension in the novel Behind the Hyena by Dr. Ahmed Al-Zoubi, in which he dealt with different social dimensions that society suffered from, such as the customs of revenge, issues of honor, enmities, marginalization of the desert, and not listening to their demands. And hatred in times of drought and distress, and their standing next to each other at times of prosperity and rain, as he talked about the city’s society, which he described as the brother does not know his brother, the son does not know his mother, and the thief stole when he was safe from punishment, and the murderer was killed when he was punished with admonition, and I will talk about these issues in detail in this research.Keywords: novel, desert, the city, hyena, revenge
Abstract: Sufi poetry is full of terms such as adoration, love, infatuation, and what is related tothe divine essence, such as communication, sitting, and devotion, and other terms that may carry akind of strangeness as it is well known, each science has its own conventions, and usually thoseconventions have exact meanings, specific use, in the conditions of that science, whether in thehuman or experimental sciences, but Sufi conventions have a somewhat different position on thisconcept, as the Sufism terms that denote states or stations or the rest of the concepts of the scienceof Sufism are of a symbolic poetic nature, and their significance changes from one Sufi to another,and this is what makes their meanings. It is subjective, authentic, and open to interpretation, and atthe same time makes it a subject of ambiguity on the part of non-Sufis. Sufism’s conventions areof an imaginary and metaphorical nature sometimes, especially those related to the ascents and theobservations that describe the realm of the kingdom, and most of them have an additional,allegorical composition that does not define inclusive and prohibitive concepts, but rather movesin the space of private fantasies and impressions.Keywords: Sufi terminology, Sufi poetry, Ibn Arabi, symbol of the Sufis.
Abstract: Heritage is the identity of every people on this land. The presence of heritage necessarily requires the presence of identity for any people in this world. Therefore, the presence of heritage in general and popular culture in particular had a presence in Palestinian poetry. The presence of heritage in Palestinian poetry formed an important relationship in the history of the Palestinian issue. Especially as it suffers from cultural alienation, the obliteration of national identity, and the uprooting of heritage and humanity together. Therefore, the Palestinian poet employed this heritage, especially the popular story, in his poetry with the aim of preserving his identity. So he included these stories in his poetry, relying on the mechanism of narration, symbolism, and suggestion to escape accountability. At times, and at other times to prove his identity, history, and right to the land. Palestinian poets were inspired by folk tales and employed them in their poetry, especially the poet Samih Al-Qasim, who employed the Palestinian folk tale in his poetry to serve his cause. The research reached several results, the most prominent of which are: that modern Palestinian poetry, in its use and investment of heritage, has achieved a set of goals, the most important of which is: revealing its attachment to On his land, this is on the national level. On the national level, the poet established through his poetry his belonging to the Arab nation. On the human level, the Palestinian poet was able to make the liberation movements and struggle that the Palestinian is waging take on a human dimension. The poetry of (Samih Al-Qasim)came as a sharp revolutionary, full of With the desire for life and justice, and freedom from injustice and tragedy, his poetry was also full of love, rebellion, and lack of despair. It was full of faith. The Palestinian poet found in folk tales a rich material with which he communicates to express his issues and the issues and hopes of his people, so he turned to them, drawing inspiration from them, and evoking them. He uses it in his artistic works, taking advantage of the collective sense and popular spirit that surrounds it, thus embodying national identity in its most accurate form.Keywords: Folk tale, Fairy tale, Symbol, Ogres, Marada, The story of the devil, Samih Al-Qasim.
AbstractThis study dealt with the theme of the women in the poetry of AlMu'tamid ibn Abbad. Itfocused on the theme of the woman, the wife, and the slave girl because they were themost prominent and important themes that the poet presented in his poetry. It consists of:an introduction, two chapters, and a conclusion in which the most important results of thestudy were mentioned, followed by the list of sources and references which the studyreferenced from. The study used the descriptive, analytical approach to reach its results;the most prominent of which are: Women were the most important motives that evoked thefeelings of: joy, happiness, pleasure, pain, sadness, and sorrow in the heart of the poet.The artistic structures of the poems that were studied resemble a poetic experience and asincere emotion in terms of vocabulary, structures, and themes.Keywords:The Woman (the Wife, the Slave Girl); Artistic Theme; Intertextuality; AlMu'tamid bin Abbad; Andalusian Era.
AbstractFor the majority of critics, Maqama is the purpose and the finished product of theindustry in the language of artistic prose, and it represents all forms and arts of prose andcompositional writing. Badi` al Zaman al Hamdhani is considered the founder of thisliterary genre, in which he collected a number of other literary genres, such as anecdotes,news, proverbs, etc. Until these maqamat became an art that many authors and writerscared about and tried to imitate in their works, such as the Maqamat of al Hariri, alSuyuti, and others. This research aimed at highlighting these representations, as theyshow the role of Al Hamdhani and his effort in presenting the mature and developed artof the Maqama; as such, he was the pioneer of this art, even if this was preceded by someexamples that did not amount to being an independent literary genre; however, it becamean art with its own rules, foundations, and components as a literary genre that was notknown to its predecessors thanks to al Hamdhani. The examiner of these Maqamat findsthe literary genres present from one work to another, which enables the literary critic totrack the clear genre specific characteristics. Also, when we observe the way in which alHamdhani writes his Maqamat, we find that he goes beyond literary genres withoutneglecting them. Moreover, The literary genres share the denominations with all othergenres of prose. So (Badi’ al Zaman al Hamdhani) represents other literary genres in hisMaqamat without eliminating their boundaries, so that the critic would be able to identifythe prominent genre specific characteristics, and to identify the places and positions inwhich (Badi’ al Zaman) crossed the boundaries of the literary genre without eliminatingit. Al Hamdhani represented the various literary genres in his Maqamat, as there was afine line separating these genres. Furthermore, the Maqama was able to integrate manyliterary genres and present them in a new model (as a Maqama), just like the modernnovel. Al Hamdhani was able to create a relationship between poetry and prose in hisMaqamat, and he was able to implement them in various ways and methods, which hedeveloped in his own style to be consistent with the prose material, in the form of adiscourse between two literary genres: poetry and Maqamat, revealing an important andvital aspect of the nature of the relationship between genres and literary types to us, andthe possibility of their overlap through technical processes mastered by the author. Poetrywas implemented and represented in almost all of his Maqamat, so poetry was eithercomposed by famous poets who memorize their poems and mention their names fromdifferent eras and times. In the Maqama, poetry has many functions, as it might have adeceptive, narrative, describtive, or critical function. In addition, the Maqama was ableto Introduce news, stories, stories, etc. Implementing the Maqama for the various literarygenres expresses the strength, skill, and breadth of the author's knowledge, as he implements them artistically and semantically. alHamdhani was aware and a master inintegrating different literally genres in his Maqamat to serve their purpose, whilepreserving the fine line which separates each one of them. As such, Literary elementsbecame essential elements in the Maqama and not independent genres.The study aimed to identify the artistic features of literary genres that are similar to theMaqama, as well as presenting Badi' al Zaman al Hamdhani's implementations ofliterary genres in his Maqamat, in addition to some themes that were prevalent in Arabsociety during the fourth century AH. The researcher used the analytic descriptiveapproach to obtain accurate results.Keywords:Maqama; Overlapping Literary Genres; Literary Genres; Deceit; Badi' alZaman; Abbasid Prose.
AbstractThis study aimed to clarify the semantic and aesthetic dimensions that lie in Siraj AlBaghdadi’s poetic and sensory experience, and then reveal the poetic source on which herelied in shaping this experience. This is done through monitoring and analyzingsemantic poetic texts. The study concluded: The dominance of the Ghazali introduction(courtesy poetry), in the poetry of Siraj al Baghdadi, which focused on describing thephysical beauty of the beloved rather than focusing on her moral beauty. Evoking shadowmemories that embody the lover’s deprivation of the beloved in reality, and that was akind of compensation for that deprivation. Al Sarraj Al Baghdadi was inspired by theexperiences of poets in the Umayyad era, and benefited from them to enhance his poeticand sensory experiences. Al Sarraj Al Baghdadi absorbed the new poetic experiences ofthe Abbasid era, such as: the experience of Abu Nawaz and others, and benefited fromthem to enrich his artistic experience. The study recommends reviewing the poetry of AlSiraj Al Baghdadi, to demonstrate its other artistic characteristics, such as: aesthetics oflanguage, style, and artistic images.Keywords:Intersexuality, Poetic intersexuality, Al siraj al Baghdadi, Abbasid poetry.
AbstractThis study aims to clarify the ideas of the Kaysanitessect in the poetry of Al-Sayyid Al-Himyari, his position towards it, and finally expose his persistence to advocate it or abandon it; the methodology was done through Identifying and analyzing certain poetic texts, the naming of the Kaysanites sect by this name, the manifestation of its development and expansion -that did not extend to a long period-, is attributed to a man named Abu AmraKaysan.Kaysan was one of the mawālī(The non-Arab Muslims). He was the head of the police force of Al-Mukhtar bin Ubaid Al-Thaqafi.Al-Sayyid Al-Himyari remained loyal to the Kaysanites until he died. This is what many scholars believe and the researcher as well.Keywords:The Kaysanite, Al-Sayyid Al-Himyari, and poetry in the first Abbasid era.
AbstractThis study seeks to shed light on the messages of Zarzuriat by defining them and explaining why they were called this way. The Zarzuriat of Ibn Abi Al-Khisal were chosen to the study to reveal the implementation of religious heritage - in its forms -, such as the method of quoting from the Holy Qur’an and the Sunnah of the Prophet, as well as religious references. And the researcher concluded that this quotation was clearly reflected in the writer's Zarzuriat, as it had a prominent role in imparting aesthetics and sanctity to the text, strengthening it and raising its artistic level.The study consists of: an introduction and a preface, discussion about the Zarzuriat, their concept, and why they were called this way. It also consists of two topics, the first is related to Ibn Abi Al-Khisal in terms of introducing him and discussing his scientific and literary status; this is followed by talking about his Zarzuriat in regards to how many of them there are and what their topics are.As for the second topic, it deals with the implementation of religious heritage in the Zarzuriat of Ibn Abi Al-Khisal, as the discussion on the forms of heritage was detailed in his letters. Also, it discusses quotation of all kinds: quotation from the Holy Qur’an, from the honorable Sunnah of the Prophet, and religious references. It was followed by a conclusion containing the most prominent findings of the study, then a list of sources and references.Keywords: Zarzuriat; Ibn Abi Al-Khisal; Religious Heritage; Quotation and Implication.
AbstractThis research consists of an introduction, two chapters, and a conclusion. The introduction dealt with the importance of national literature and its role in illuminating the paths of generations to achieve freedom, and inspires hope in the hearts of those seeking to achieve it. The research also aimed to establish new concepts associated with the awakening of national consciousness, and there was no fundamental difference between awareness National and nationalist, especially in the shrines of the last century, and therefore the rooting of the concept of national literature in Egypt, from which our poet Ahmed Shawky Qareen descends, was the process whose motives were derived from the awakening of anti-colonial awareness, and the role of Ahmed Shawky in sharpening and rekindling this awareness. The research also dealt with definitions of national literature and literature. National and comparative literature and the importance of the relationship between national, local, or national literature, especially the mutual relationship between them, and the need of some for the other, And the thing that forms the core of this work. The discussion in the research, on the other hand, tries to study this relationship through Ahmed Shawky's poetry and its components at various levels: local, national and global. This will enable us to look at his poetry from a global perspective, given the influence left by Western writers, especially the French, on his poetry, especially the principles and values of humanity common to all peoples. This is very clear in his defense of the Islamic world, first and foremost Turkey and a number of Arab countries, against the Western attack on the Arabs, the Islamic world, and the East in general. This is what the colonialists did when they forgot the principles of the French Revolution, the European Renaissance and the Enlightenment.In their dealings with the peoples they colonized, the first section consists of a definition of comparative literature, international literature, national literature, the relationship between global and comparative literature, issues of global literature and its origins, and the difference between comparative literature and global literature, and the second section consists of an applied study on the poetry of Ahmed Shawky as a model for these The research, followed by a concluding word that summarizes the research and presents the researcher’s results, and the previous studies on which the researcher relied. The researcher: Ahmed Shawky's study, a study in his novel works by Aseel Abdel-Wahhab Atout, alienation and nostalgia in Ahmed Shawky's poetry by Nidal Alian Al-Amawi, and Shawky's patriotism by Ahmed Muhammad Al-Houfi, and Shawky and issues of the age by Helmy Marzouk. Since the comparative approach alone does not fulfill the purpose of the study, the researcher used the descriptive analytical approach as well to reach accurate and logical results.Keywords: national literature, national literature, comparative literature, international literature, Islam, Ahmed Shawky
1- جامعة جرش المؤتمر النقدي الخامس عشر 2013 م تقديم ورقة بحثية بعنوان : تطور الأداء الفني في الشعر العباسي.
2- جامعة جرش المؤتمر النقدي الحادي والعشرون 2018 م تقديم ورقة بحثية بعنوان : النظربية الأدبية الحديثة
3- مؤتمر اللغة العربية صاحبة الجلالة-دبي 10 - 4/13 2019
4- مؤتمر الأدب المقارن في جامعة العلامة إقبال - باكستان . 19- 11- 2019
4- مؤتمر الادب العربي الرواية العربية واتجاهاتها الحديثة في الأدب / جامعة اقبال-باكستان . 18- 19 /12/2023
الجدول الدراسي :
1- مهارات لغة عربية / استدراكي (عن بعد) ح ن .17:00
2- الشعر العباسي /خطة جديدة س ح 11-12.30
3- العروض والإيقاع الشعري س ح 9.30- 11
4- أدب العصور المتتابعة . س ح 8-90.30
الساعات المكتبية : س ح 12.30- 14:00
All Rights Reseved © 2025 - Developed by: Prof. Mohammed M. Abu Shquier Editor: Ali Zreqat
