ジュブラーン・ハリール・ジュブラーンにおけるアラブ詩変革と伝統主義批判
スポンサーリンク
概要
- 論文の詳細を見る
Jubran Khalil Jubran (1883-1931), well-known as Kahlil Gibran, the author of The Prophet, is a poet who was born in Mount Lebanon, emigrated to the United States of America, and spent most of his lifetime there. The main purpose of this paper is to analyze some aspects of the revolution of Arabic Poetry which he initiated. Arabic poetry, which had traditionally been the main genre of Arabic creative literature, regained its vigor in the 'asr al-nahda,' evoking the pride in the glory of Arab-Islamic civilization. However, the Arabic poetry of the time tended to follow the traditional view of poesy in its content and form, which had been formed in the Abbasid period. Jubran objected to this situation. Prominent features of Jubran's poetry are: seeking for 'unknown' through his prophet-like vision, critical and rebellious stance toward the reality, and expression of the personal experience as a stranger. As for the poetic form, Jubran regarded it as a means of expression of his vision and message. Therefore, he was not only selective in it, but also altered it and tried to create new forms, calling himself 'creator of forms (khaliq ashkal)'. Through this process, he came up with an alternative to the tradition of poetry of strictly defined forms. At the same time, however, he was a traditional poet in the sense that he inherited the Arab cultural legacies in his poetic world, and his poetic vision was prescribed by a monotheistic world view. Nevertheless, traditionalists like Mustafa Sadiq al-Rafii criticize his deviation from 'the true tradition'. The traditional view of poesy remained very influential through the 'asr al-nahda' and the period between the two world wars, probably because it fanctioned as a centripetal force in the context of seeking for a stable cultural identity under the Western hegemony. However, that view of poesy confuses 'tradition as structure' with 'tradition as ideology'; regards paticular norms as 'the true tradition' that constitutes the essence of the Arab culture; and excludes all that deviates from these norms. As a conclusion, this paper suggests that Jubran's romantic revolution was not rejection of 'tradition as structure', but it implied criticism of the ideology of traditionalism which emerged in the 'asr al-nahda'.
- 日本中東学会の論文
- 1998-03-31
著者
関連論文
- 諧謔と抵抗のベイルートっ子--ズィヤード・ラフバーニーの世界 (特集 レバント、何処へ)
- 評論 秘められたる書き手としての死--太陽の男、ガッサーン・カナファーニー (特集 「9・11」と文学)
- ベイルート、殉教者広場の2005年--「独立インティファーダ」とサミール・カスィール (特集 アラブの都市と知識人)
- 川端康成への手紙? ラシード・アル=ダイーフ作『親愛なるカワバタ様』を読む
- ジュブラーン・ハリール・ジュブラーンと民族独立運動--第一次世界大戦前後の作品を中心に
- アラブ近代文学におけるアラビア語とジュブラーン・ハリール・ジュブラーンのアラビア語観
- ジュブラーン・ハリール・ジュブラーンにおけるアラブ詩変革と伝統主義批判