아랍 신고전주의의 모더니즘 연구 - 전통과 모더니티를 중심으로 -
A Study on the Modernism of Arab Neoclassicism: focused on the Tradition and Modernity
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In the second part of the nineteenth century, signs of the poetic revival were appeared most notably in the work of the Egyptian Mahmūd Sāmī al-Bārūdī who was described as the true precursor of this revival. And his works are marked by a conscious return to the classicism of early medieval poetry, especially that of the Abbasid period(750-1258). And after Bārūdī, Neo-classical poets were the Egyptians Ahmad Shawqī and Hāfiz Ibrāhīm, the Iraqis Jamīl Iidqī al-Zahāwī, Ma‘rūf al-Rusāfī and Muhammad Mahdi al-Jawāhirī, and some of the Syrians and Lebanese. The Neo-classical poets accepted as their norm the old Arabic ode, Qasidah, with its monorhyme and monometer, its heavy reliance upon rhetoric and declamation, and the sonority of its music. But the Qasidah was not simply regarded as a sacrosanct ideal by the Neo-classicists, but was actually made to accommodate the modern poet's political, social, and indeed psychological needs.
Abstract
In the second part of the nineteenth century, signs of the poetic revival were appeared most notably in the work of the Egyptian Mahmūd Sāmī al-Bārūdī who was described as the true precursor of this revival. And his works are marked by a conscious return to the classicism of early medieval poetry, especially that of the Abbasid period(750-1258). And after Bārūdī, Neo-classical poets were the Egyptians Ahmad Shawqī and Hāfiz Ibrāhīm, the Iraqis Jamīl Iidqī al-Zahāwī, Ma‘rūf al-Rusāfī and Muhammad Mahdi al-Jawāhirī, and some of the Syrians and Lebanese. The Neo-classical poets accepted as their norm the old Arabic ode, Qasidah, with its monorhyme and monometer, its heavy reliance upon rhetoric and declamation, and the sonority of its music. But the Qasidah was not simply regarded as a sacrosanct ideal by the Neo-classicists, but was actually made to accommodate the modern poet's political, social, and indeed psychological needs.
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