هناك أدّلة واضحة و براهين ساطعة على سقم الناس وتململهم من القواعد النحوية التقليدية وهذا ما أكّـدته النقودات النحوية الكثيرة . انقسمت فترة القرن الخامس والسادس الهجريين إلى نمطين من أنماط التجديد في التفكير النحوي وهما النمط التنظيري الذي مثلته دعاوى الجرجاني في جعل ضابط المعنى وعلاقته مع اللفظ صورة لتشكيل النحو المعنوي ولعلَّ هذا التطبيق نجــده عنــد الزمخشري فـي ( كشافه )، ونمط آخر مثلته دعاوى المعري ونقوداته للنحو البصري واستعمل في ذلك أسلوب التهكم والسُخرية والقصص الخيالية مما يدل على تذمر الناس من قيود النحو القديمة . انتقال عدوى التذمر من صياخيد النحو الرتيبة إلى نحاة الأندلس الذين رفعوا لواء التغيير والتجديد في منهجية النحو ، وإلغاء كثير من أبوابه التي لا فائدة منها وهذه الدعاوى مثلتها دعوة ابن حزم وابن الطراوة والسهيلي وابن مضاء القرطبي . ظهور نمط آخر من أنماط التجديد النحوي وهو التجديد التطبيقي الذي مثله الحريري في مقاماته ، وكذلك الزمخشري في مقاماته الوعظية رغبة منهم في إيصال المادة النحوية إلى المتلقي بطريقةٍ مأنوسة ومألوفة لا يأباها السمع ويرتضيها الذوق . إدخال القواعد النحوية في الأحاجي والألغاز وهو فن معروف في حياة العرب لكنَّ العقلية الإبداعية استغلت ذلك النوع ووضعته في خدمة النحو وقد مثّل ذلك الزمخشري . إعادة هيكلة التأليفات النحوية وفق نمط جديد مختصر في استشهاداته وإضفاء عناوين جديدة على الكتب النحوية رغبة من النحاة في جذب سمع المتلقي ولفت انتباهه وكذلك خلق منهجية جديدة داخل النحو . توظيف النحو شعرياً طريقة إبداعية مثلها ابو العلاء المعري عندما إدخل المصطلح النحوي في الأبيات الشعرية وقد أفاد منها بطريقين طريقٍ تعليمي وإضافة فائدة أخلاقية كان يتبناها في ثقافته وأفكاره . هناك تجديد في منهجية النحو ولاسيما باب الاستشهاد فقد اتسعتْ نافذة الاستشهاد النحوي في القرنين الخامس والسادس الهجريين فبعدما كان الاستشهاد يتوقف عند ابن هرمه إلا انَّ النحاة في هذين القرنين شملوا شعراء كان لا يُستشهد بشعرهم من أمثال أبي تمام والمتنبي والشريف الرضي وغيرهم . وتأسيس قواعد نحوية على الحديث النبوي الشريف بعدما كان النحاة لا يكثرون منه ولهم ضوابط في ذلك .وكذلك حصل تجديد في الاستشهاد بالقراءة القرآنية حيث استشهد بالقراءات الشاذة . هناك تجديد في التبويب النحوي إذ تأسس على منهجين تجديديين الأول تجديدي تعليمي مثله الحريري . والثاني تجديدي عقلي مثله الزمخشري. تداخل علوم أخرى مع علم النحو كعلم التفسير وعلوم المذاهب الإسلامية والبلاغة مما يدلّ على وجود عقليات إدماجية لديها سعةُ أفق نحوية وتفسر النحو لا على أساس اللفظ فقط ، وإنما على أساس المعنى . ومن ثم أدت هذه العلوم إلى توسع المنهج النحوي . وجود تطور في المصطلح النحوي وإضفاء جانب المعنى عليه وعدم تقييده بالإطار اللفظي فقط ، وكذلك وجود مسائل نحوية جديدة تخالف المسائل التي قال بها النحاة الأوائل .

Abstract This study is an attempt to stand on the criticism of the Andalusian poetic text, reading it and discussing it in light of its criticism, and monitoring the effectiveness of critical approaches in the hope of identifying the methodology of its presentation, as this presentation required discussing critical readings and standing on some concepts and terms within the limits of receiving the poetic text, and the nature of the study necessitated that the period of the sample of the Andalusian poetic text extend from the era of the Taifa Kings to the end of the fall of Granada; In order for the researcher to have the freedom to choose critical studies that dealt with the Andalusian poetic text in a way that serves the nature of the subject and its divisions, the study excluded many critical studies despite the ease of obtaining them, as it became clear that most of them were studies in the history of Andalusian literature, including poetry, more than they were studies in the literature of the poetic text, and many of them lacked critical pauses that constitute critical opinions that can be discussed, interpreted, and criticism of criticism practiced on them, which made it difficult for the research to choose critical studies that constitute the research material, in addition to other difficulties represented in the nature of the Andalusian poetic text, as it is a clear text characterized by easy words and clear expressions, so its criticism lacked critical opinions that constitute a source of disagreement and critical debate among critics compared to other literary eras, and the subject naturally relies on critical and controversial opinions, although the nature of the study does not adopt a comparative approach as much as it tends to discussion, reading, and interpretation. The study discussed in the first chapter the trends of criticism of the Andalusian poetic text, including the semiotic trend, the psychological trend, and the cultural trend. The study in the second chapter focused on the techniques of poetic expression of Andalusian poets, and among the techniques that the study focused on were the poetic image and intertextuality. As for the third chapter, it was devoted to studying the dimensions of interpretation and reception in the criticism of the Andalusian poetic text, and two models of Andalusian poetry were chosen, one by Ibn Zaydoun, and the other by Ibn Khafajah Al-Andalusi. The study would not have reached its end without putting a set of visions inspired by our journey with critical studies and readings, including: • Analysis of poetic discourse (intertextuality strategy), and in the semiotics of ancient Arabic poetry, a theoretical and applied study by the Moroccan researcher Muhammad Miftah. • The aesthetics of cultural criticism towards a vision of cultural systems in Andalusian poetry by Dr. Ahmed Jamal Al-Maraziq. • Andalusian poetry between literary schools, Dr. Jumana Rajab Pasha. • Poetry in the era of the Almoravids and Almohads in Andalusia, Muhammad Majid Al-Saeed. • The recipient in Andalusian poetry, a study of the types of recipient and response structures, Dr. Sanaa Sajit Haddab. • The text and the echo of the text, a new vision in Andalusian poetry, Dr. Hussein Majeed Rustum Al-Hassouna. • The self and the other in Andalusian poetry, Dr. Montaser Nabeeh Siddiq. • The philosophy of Sufism in Andalusian poetry, Dr. Hamida Saleh Al-Baldawi. In addition to poetry collections and other critical sources, the research excluded academic studies from theses and dissertations for many reasons, including that most of these studies focus on specific aspects and specific poetic production, so critical opinions and points of view are also limited to specific aspects. It must be noted that there is an importance that governs the poetic experience, which makes us stand on it within a group of data related to its creative components and its special attachments to reading and interpretation and its formations that have become a prominent landmark of poetic experiences, and its contents that are distinguished by the features of depth and suggestion, and perhaps such characteristics were the main incentive for the other side represented by the experience of critical discourse on the poetic text with all its manifestations, and this poetic text was able to form several methodologies for critical reading, whether at the level of hypothesis or procedure, and within data of multiple orientations and visions.

Narration is considered a field of creativity and a highlight of the novelist’s ability to produce narrative texts and influence the reader. Through the creative act، the novelist’s various dialogic components appear، which provided him with various sources of speech. Hence، it can be said that the narrative text represents a source of the poetics of dialogue and diverse cognitive backgrounds that express the novelist’s self and everything that is mixed in his soul with all sincerity. Poetics interacts within narrative texts to form a clear landmark that reveals the novelist’s orientations and his own style influenced by that poetics، in addition to employing poetics within the narrative text that makes it more eloquent، powerful، and powerful in style and language، gives it a distinctive cultural touch، and opens wide horizons for the novelist that help him express what is on his mind; Therefore، most writers make the poetics of dialogue a foundational building block in which their literary texts revolve. It has received great attention from critics. Because it expresses social life and its contents، it has relied on a set of narrative techniques that are considered the essence of the literary work of fiction، and an essential and important pillar. Perhaps one of its most prominent elements is the dialogue in the narratives of the novelist Tami Harata Abbas. It is the main axis on which the study is based. Dialogue is considered a means of narration. It contributes significantly to drawing characters، reveals their cultural and cognitive level، and presents their ideas، opinions، and concerns in a clear way to the reader. Because it embodies the characters’ words and movements، it pushes situations forward and adds vitality and renewal to the narrative text، and the dialogue is linked to poetics and critical concepts that have received great attention within modern literary criticism. The reason for choosing the topic came based on the suggestion of my supervisor، Professor Dr. Mustafa Latif Arif. He proposed the title: “The Poetics of Dialogue in the Narratives of Tami Harata Abbas.” The nature of the thesis، based on its critical theoretical principles، necessitated its division into three chapters، preceded by an introduction and preface and followed by the most important results that emerged from the study، and then a list of sources and references with which the researcher documented her study. This division includes what is included in the title of the thesis. Accordingly، the plan of the thesis came as follows: The researcher devoted the introduction to clarifying the meaning of poetic language and terminology، the concepts included، its trends، its origins، and its pillars، while giving the importance of the poetic relationship to dialogue. We also gave a brief biography of the life of the novelist and storyteller Tami Harata Abbas، his political experience and literary achievements، along with the opinions of critics on the novelist’s narratives and his personal life. As for the first chapter، it was entitled “Dialogue in the Narratives of Tami Harata Abbas،” in which I focused on the study of dialogue، and it includes three topics. The first topic dealt with: the study of dialogue in language and terminology، the concept of dialogue، its foundations، its most important pillars، and its necessity. The second topic: the study of the language of dialogue، and the third topic: the functions of dialogue in the novelist’s narratives. The second chapter was devoted to studying “types of dialogue” as a result of the availability of patterns of dialogue in his narrative texts، and it was divided into sections. The first section، “external dialogue،” came to announce the dialogue between “characters with the actions associated with it،” he said، “I said،” to highlight the importance of dialogue and its role in monitoring the literary event in the mind of the reader، with three different axes according to the novelist، and it came in the following types: “complex dialogue، symbolic dialogue، and symbolic dialogue.” "abstract" Each section is headed by a theoretical foundation، while the second section is concerned with studying the “internal dialogue” and includes connotations and meanings so that the text acquires movement and vitality within the character’s self and what they feel. It comes in five axes، the first: “direct and indirect monologue،” the second: “soliloquy،” the third: “artistic flashback،” the fourth: “stream of consciousness،” and the fifth: “imagination.” The third chapter dealt with “Methods of Dialogical Discourse،” which consisted of two sections: The first section was entitled “Poetic Language and Rhetorical Effects،” in which we explained the spirit of poetics within narrative dialogue through several forms of repetition، displacement، intertextuality، and rhetorical effects، including simile and metaphor، which highlight the novelist’s professional skill and his cultural ability to employ it within narrative work، to show us the extent of his ability to show the importance of the aesthetics of writing. As for the second topic، it was entitled “The Poetics of Paradox and Symbol،” and it contains two axes: the first: the poetics of situational paradox and verbal paradox، and the second axis: the poetics of symbol that includes the religious symbol، the literary symbol، and the mythical symbol. In these artistic methods that the novelist used، we find in them poetry، perception، symbol، and acumen in their connotations and meanings to know the possibility of writing and its secret. The study ended with the most important results that presented the most important findings of the researcher. The study relied on the descriptive analytical approach as required by the nature of the message by analyzing narrative texts، interrogating them، exploring their meanings، and discovering their concept by confronting the text، identifying the secret of expression hidden in its structural patterns، interpreting it، and knowing its artistic features and values. This study of texts came as a basis for consideration، a place for contemplation، and a starting point for issuing judgments and drawing possible conclusions from the poetics of dialogue. The novelist relied on it in presenting his intellectual visions to strengthen his position and confirm his arguments in his creative artistic project.