يدقنلا تلفتلا

يدقنلا تلفتلا

هجهانم يقلتو يبدلأا دقنلا تاراسم يف ةسارد

Critical Chaos

A Study of the Paths of Literary Criticism and the Reception of Its Methods

ناته رماع دمحم للهادبع .د

ahttan@kku.edu.sa

تسملا خ صل

ددد اره ا ارددد ذهدددته ههددد ن ا دددقنل ات فعددد عو وم دددنت لىإ

ار دددهلعا عدددقع ) دددو

اره ب ةريهلجا يه ن ا لئ سلدا ج نو ي ضقم بيدلأا ه ن ا و لر في

لديقحل ام ةءار ا

د د ن ا دو ادجم هد ر يد اد ا دييهنلدا تتعدحل ا كقلب ارعهظ و كشأ في طهترا هنعك هدّ عت بمم ةهيهلجا يه ن ا سراهلدا رّعطتم جيهلحا يركن ا تار ّيل ا ت يضل بم يرثألو ب ددطلخا لدديق تامدأم بيدلأا تحندد ا ةءارددق في جهنددلدا أددسبم ةددعم ددو ددهنع ّنإ

دد ح

رددد لىإ جهندددو دددو دددنلدا وّعدددحل ا ر اعدددظ دددو ددد انم "ههددد ن ا دددّقنل ا"

م ك ردددم

ةّالز ي كشإ يضق لجتم اغب ةءار ام ه ن ا في يرظن واههل ا

لىإ دنب ند د دو عد م

في هددددق ا اعدددد م دددد ارد في مر ددددةلدا دددد م لز ّ دددد أ عددددقع ءعددددض ا ء دددد إم فعدددد علدا اردددد

ا ولا و هت ي كشإ وعدحل ا تار دسو تدر دو و دقلاطنا هب هد أ د أ عدقع ذعدقع

: ددهنو ر ددظو ةهددمب هددقلي هددق هردد ا

ددب لدد نل ا لددواععم دديه ن ا ت حقطددللدا ددوزأ

سراهددددو عددددقع ح ددددلننتا لىإ هددددقيوم هددددق ن ا يددددلةش ددددميها ك رددددم ددددنقلةلدا ج ددددنلدا دهملو ج نوم ة

مو جهنلدا عقع ك ذ في واهم ل ةقيقحل ا ةنصع ا

. جئ لن ا و دهع لىإ اره ا لق هق م

ح : ههمأ و كدقيد نأ لىإ هق ن ا

ةدددمقم ا نددد اعل ام طهدددضنلدا ددديه ن ا ةأردددلجا دددو واادددهم وارهدددق نأ: دددهنوم

رعدددهظ ب هددد أ

لكددةب كددكترت ددقنل ا اددهم

دديه ن ا ج ددنمق ةدد قل ا أددسو عددقع

دديبرغ ا نأم تار ددسو

ههددد ن ا دددقنل ا ةءار دددب أهدددهت

ا في ددديلد م ا بادبام ت ددديرظن كددد ذ نأم

ت هدددل ي ح في

ج دددنلدا وم دددنت دددو هدددنكتم اددد ا تامدلأا هددديه دددن م اذإ دددع لكدددةب هدددق نق و دددهيع هدددمي واهدد نم دد ارد ددنقلةلدا واادد أم

م درددنل ا ددنعنيك ا

رددص ملدا بيرددم ا هددق ن ا نهدد ذلالدد ت

لكدددةب بدلأام هددد ن ام لددد م ام ركن دددب هندددت ددديعيح ةردددك دددع

دددصمأ ك رددد م

لددديمنت دددو ك رددد دددلد دددلذم نت عدددقع جح ددده ا نييدددةتم تار دددسلدا كدددقت ندددهللب ددد راه ا

. ءاع هح عقع ئر ام هق ن ا هنو هينلسي نق جوم

Abstract:

This paper aims to address the topic: (Critical Chaos) as it is considered one of the critical issues worth of being studied in the field of literary criticism and issues of reading and analysis approaches.

This is because it is related in the forms of its appearance to those methodological transformations practiced by many critics, influenced by the requirements of modern intellectual trends, the development of new critical schools of thought, and the awareness generated by them on the issue of the methodology in reading the literary text and the tools of discourse analysis.

The case of "Critical Chaos" – and other phenomena of a sudden transformation from one methodology to another, as well as the replacement of a theory in criticism and reading with others, represents a problematic and confusing issue. This is what prompted us to try to contribute in the study of the aspects of confusion in this matter and to shed light on its most important problems, by identifying the its most important causes, and the factors of switching between various methodologies, and the nature of the personality of the critic and his preference for opening up to multiple schools and methodologies, based on the descriptive analytical method.

The study concluded on a number of findings, the most significant of which include: the critic's need to possess a great deal of disciplined critical audacity and scholarly humility, and that the reasons for the emergence of critical chaos are largely based on the issue of reception of the Western critical approaches, and that the paths of critical chaos begin with reading in the theories and global literature and that in reality this is not a flaw for the critic in general if he has the tools that enable him to deal with different approaches in study and criticism. Finally, the intrinsic of uniqueness and difference of the contemporary Arab critic is a vital idea that promotes thought, reason, criticism, and literature in general. Consequently, this paper recommended following these paths and encouraging researchers to address them as this has brings about vibrancy and conflict which benefits both the critic and the reader accordingly.

Keywords: Digression –criticism -uniqueness- difference- conflict)

ةمدقملا :

يددم ه

" فعدد عو ددّقنل ا

ههدد ن ا

"

لدا ددو لئ ددس دديه ن ا دد اره ب ةريهددلجا ددلر في

و ب ارعددهظ و كددشأ في طهدددترا هددنعك لدديقحل ام ةءارددد ا ج ددنو ي ددضقم بيدلأا هدد ن ا كدددقل

ددو اددجم هدد ر يد ادد ا ددييهنلدا تتعددحل ا د دد ن ا

يرثأددلو بم

ددضل ت ي تار ددّيل ا دديركن ا

ددجيهلحا ّعددطت م ر هدديهلجا دديه ن ا سراهددلدا ة

م ددبم هددّ ع ت ةددعم ددو ددهنع بم

أددس جهنددلدا في

بيدلأا تحندد ا ةءارددق ب ددطلخا لدديق تامدأم

كدد ذ ر ددظو حددضّتا هددقم مّيدد ت

نددو

تيهدددلحا ردددلم ا في بردددم ا هدددنع ههددد ن ا ردددكن ا رعدددطت دددّبإ هدددق ن ا هدددا دددمنيه

رعدددهظ ن

ددديمقاع ا ددد رهلدا ددديه ن ا

هدددهي اكدددل تا ةردددكنب وارثأدددلو أ تتعددد بم م

ةدددسمر لدا ردددكن ا

اددد ا

دددمها ّ ددد أ بيردددغ ا ردددكن ا في ددديركن ام ددديع مل تا تتعدددحل ا تيهدددلحا

في اهدددا

دد أ دد رهو لىإ وعددحل ا رددث هددق دد حت ددقحرو دديمقاع ا تعددو و ددنقمو نر

وارثأددلو رعددهظب

ةكدددددس عقكيش رعدددددلكي هدددددنع ةددددد دددددمم يددددد مر ا ينلاكدددددة ا

نعدددددسبعم ن دددددومرم

م بيدلأا هد ن ا ناهيو في ةرعث اعثهحأ ير ا كئ مأ رعكني هرعكير م م هنيخا يرعب

واادددهم واهدده اع رددبم يردددةم ا نردد ا ت ددنيثلاث في رمدددة ا ددغ يدددصعل عددقع هدديمألق

هلي لا لدد ام بدلأام بيدلأا لددمم ا يرمددش كددمرو هنددصعب

اردد ن ددمرأ تكددل ا نإم

و حت يرظن ا هلهّ م هر ا ه ن ا رثإ عقع

ت دي ام ديكيكنل ا لجو نر أ تار ّيت لذ

عدكيإعتتوإم رعدكير نو ليمأل ا ت نسق م ةّ قل ا

ت د اره ا مأ في د ج ا هد ن ا ديرظنم

ي ج ا ت

Cultural Studies

( )

لولأا ثحبملا :

يدقنلا تّلفتلا بابسأ

ت 1 )

ت 1

.

)

Eliot

(

Intertextuality

)

ت 1 )

ت 2 )

ت 3

وّعدحل ا كد ذ هدمو ر دص ّهدح لىإ

)

ئاهددد ا ت ددد عح تم هدددلمقم هدددمك ت دددو" عددد اردددظن في هدددلحا لددد ر ا ّنأ نأر تددديح )

اردظن هدي عتم فعدنل ام وعدحل ا عدقع رد د ا ئ دك ا ك ذ هنك م ي رظ ا هنقاعو اههملست لدا عنح له لس هدلمقم هنع ي هر ا هنك م هلمقم هنع ع و ي ن ل ر ام

عد

( )

( )

اردددك هددديي ت دددع هدددلمقم كددديمت دددو

ددديعيحم ة ددديح ةد هدددش وعدددحل ام

دددبا ننددد ارددد م

فعدددنل ام وعدددحل ا وعدددحل ا ندددو دددهئاد دددمرمو نعددد دددسي ددد ج ا ردددولأا ،دددّقطت دددمجيح

"دهيل ام

ت 1

.

)

( )

( ) ( )

( )

www.alithnainya.com

)

( ) ( )

( )

( )

. (

^Poetique

)

ت

stylistic

)

يدقنلا تّلفتلا تاراسم :يناثلا ثحبملا

www.alithnainya.com

ينددةقه ا ةرعددج ا امد ددع يردد ا ددو ءتمدد ن ددمم

ددو اعددبر م

اردب لىإ هل حلاو

سمرد ا ينلاكدة ا د رهو اعدس مي

قغدشم ينهد ا تتدو

( )

( )

ا ام ت ديه ن ا ح دس ا في وهدلجا دو د ح ،هس

د اثأت واز ت لىإ

عي ا و ح ام يه ن ا ح س ا في .

ثلاثلا ثحبملا :

ةيدقن ةفقو

.يدقنلا تلفتلا ةركفل

ةمتاخلا جئاتنلا مهأو

:

1 - ج دددليح هدددق ن ا ددديه ن ا ةأردددلجا دددو واادددهم وارهدددق كدددقيد نأ لىإ طهدددضنلدا

م نددد اعل ا

ةدددمقم ا ار عددد م هددد ن ا ّسأ ارددد لدددجيدم هددد ن ام دددع لكدددةب بيدلأا هددد ن ا في

ص لكةب بيرم ا .

2 - رددص ملدا بيرددم ا هدد ن ا في ددقنل ا رعددهظ ب هدد أ هددملت لكددةب كددكترتم

لددو م

أدددسو عدددقع ددديه ن ا ج دددنمق ةددد قل ا

ددديبرغ ا ددد ح لدددجتم اددد ام ر دددههنتا دددو

.بيرغ ا ر ب ب 3 - هق نق يعكل ا ،ن لجا ل هي

هه ن ا جهنلدا و هنكتم راه وم و هه هس أم

ل ا ةر ددظ في و ددسيئر نددق

ههدد ن ا ؛

ا ددو اددجك ا عددقع لكددةت هدددق ادد ا مب دددللد

يبرم ا يه ن ا حق .

4 - ههدددد ن ا ددددقنل ا ت ار ددددسو أهددددهت ددددب

ةءار في دددديلد م ا بادبام ت دددديرظن ا ثم

رددهظت د دد ن ا ة ددم لز يرددّظنلدام

يبرددغ ا كددقل

كدد ذ هدد اري هددقم دديبرغ ا ج ددنلدا

لإا ح بيرم ا هق ن ا همملي هق ا ا وهلجام ةر ث لأا و اجم في

. ن يح

5 - دددقنل ا هدددمي ت هددديه دددن م اذإ دددع لكدددةب هدددق نق و دددهيع هدددل ي ح في ههددد ن ا

دددنقلةلدا ج دددنلدا وم دددنت دددو هدددنكتم اددد ا تامدلأا واهددد نم ددد ارد

ّهدددم ي ذإ كددد ذ

هدددحام ههدد ن جهنددلد يرعددد ألدا ددو ااددن عدددقع هدد ةكدديو

هددهلجا ردد أي

رردددكيم

. هسنن في هق ن ا 6 - فلادداا رددص ملدا بيرددم ا هددق ن ا

ا عددقع هدد أ ح ددلننام ةدهددمللدا سراهددلدام ج ددنلد

هدد ن ام لدد م ام ركن ددب هنددت دديعيح ةرددك

ددع لكددةب بدلأام

ددو ةدد م

ددديمنل دددصر فاهدددب ةرددد با ددديه ن ا ج دددنلدا ددد تعب دددو ر دددلمنتا دددو لدددما

ةدهدددمللدا ددديعغق ام ددديه ن ا وعددد لحا في هدددق ن ا تامدأ دهدددمتم ههددد ن ا رمرددد ا ا ب نق جلدا و ح ء نبم .ئر ام هق ن

7 - ا ج ددل دديبرم ا دد ج ح ددلننتا لىإ عددي ا

ردد با عددقع

هددتءارقم نلدد تام ددمم ةد

يعلذا ع خلاسنتا نمد فهبأم ،لم ل ام

يمه ا بيرم ا هه ن ا ثاترق ركن

ك دديزم ا ةعددق هددهناع في لددميح هردد ا دديه ن ا سراهددلدام ج ددنلدا ددو اددج

عدد م

أدددسو عدددقع هدددممي هرددد ا هددد ن ا في ددديرعلز دددسو هدددمت اددد ا )رمرددد ات

دددهنوم

ةهلنت هق هي إم م ا يه ن ا لئ سلدا و اجم

.

و رداصملا عجارملا

:

.

www.alithnainya.

^com

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