ONA
– Omani writer and researcher Dr. Fawzia bint Saif Al-Fahdiya presents a different vision about criticism and its foundations in the Sultanate of Oman through her literary dissertations and numerous researches that appear to the recipient from time to time, including the recently published book “The Wordsmith of Kalam” by Dar Al-Rafidain, And the book / The Place in the Omani Short Story (Reality and Imagination) /, and through these publications it approaches the literary reality in the Sultanate of Oman in general to find tools that are compatible with what is proposed by the vision of the critic and the follower of the impact of that literature..
Al-Fahdiya talks about her latest literary work, her standing on the literary biography of Ibn Rasheeq, the incentives that made her closer to this Arab writer and critic, and what she found in his intellectual and literary philosophy. She says: In fact, I am not one of the writers who multiply literary production or research publications through books. Because they are projects that need a lot of time, deep vision, extensive training in writing, deep and accurate readings, and sober methodological analysis, and I am still exploring my way in scientific research in the field of human studies, and I read to be a diligent student of science, and when I reach to be an argument in a precise discipline, I will definitely strive to have A scientific and civilized project that I can add to the vast amount of knowledge today. That is why I am one of the researchers who focus on quality, not quantity, and investigate depth and accuracy, as I claim.
As the scientific and intellectual production of its scholars began to take a founding turn for a distinguished school, which began to add to the intellectual and cultural heritage of the Islamic nation at the time, so Kairouan assumed the place of the civilized city from which science and thought radiated, moving to it from Damascus and Baghdad. To be present in the Islamic world at the end of the fourth century and the beginning of the fifth century AH.
She said that in terms of stimuli, there were many, the most important of which is: many researchers and scholars in the field of literature and studies have relied – so far – on his book Al-Omdah on the Beauties of Poetry and its Etiquette, despite its age. The flag is disputed by the current countries between them in affiliation, and that is what we found in some recent studies through some researchers, some of them said that he was from Algeria because he was born in M’sila, and he remained there until the age of sixteen, and some of them said Kairouan, and the city of Kairouan is now located in the middle of Tunisia, so we wanted to stop this conflict, which renews the controversy over his affiliation, to say our word through the texts written by Ibn Rasheeq himself, and the identity he chose for himself, and this is a very important issue that we are still living in and we in Amman are caught in its circle in the process of the scholars’ dispute, such as Khalil bin Ahmed Al-Farahidi, and Ahmed bin Majid Al-Saadi.
And I made it clear that with regard to his intellectual philosophy and his civilized project, I chose to collect his works that still remain to this day, and their attribution to him has been proven, which is his collection of poetry, which was achieved by Abd al-Rahman Yaghi in the eighties of the last century, and his book on thefts, which he titled: “Qaradat al-dahab fi critique of Arab poetry.” It was investigated and presented to him by Dr. Shazly Buyahia, and his encyclopedic book: Al-Omda fi the beauties of poetry and its etiquette, and finally his book in literary translations: The Model of Time in the Kairouan Poets, and it appears from Ibn Rasheeq’s works that they are multiplicity and diversity that he may describe as dispersion, but our study of all of them revealed a logic that unites them. And unites their plurality despite the diversity of their concerns, as they are works stemming from one concern, logic and vision, through which we discern Ibn Rasheeq’s critical project and his perception of the literary process, and the phrase “literary process” is not one of the terms of Ibn Rasheeq’s critical works, but its concept is the subject that unites it, and it is a concept.It combines the creative process (how is the text formed?), the critical process (how is the text evaluated?), and the rhetorical process (how does the text succeed?). These are three apparently different but interrelated processes that represent – in principle – a unified process to which the concept of the critical process applies in the broad sense of criticism. , in which we study the writing industry at the formation level, the evaluation level, and the selection level.
Omani literature is haunted by the obsession with the place and its rationale, as it stems in general from the / the geography surrounding it /, and here the writer Al-Fahdiya indicates that because she has a modern vision that is embodied in the tourism employment of the poetics of the place in literature, and she says: Indeed, Omani literature is haunted by the element of the place and all its belongings, which is It is a matter of thinking and contemplation; Because this matter reflects the Omani’s attachment to his land and everything in it, and he is strongly affected by what was imprinted in his memory about it, related to its elements, and he finds it a place worthy of challenge and writing about, for Oman is a country of ancient civilizations, and frequently asked questions, and my first book was a study of the place in the Omani short story, In it, I studied the place and its manifestations in terms of reality and imagination in a number of collections of short stories that were published by Omani writers from 1993 to 2003. It was a period full of stories produced by Omanis at the time, and the book is available in the Cultural Club for anyone who wants to purchase it.
The researcher explains that she has conducted a scientific research on the tourism employment of the poetic place, in which she tried to present a vision of employing the magical manifestations of the place in the tourism aspect, through two texts: poetic and narrative: the poetic was the original text, which is (the poem of the capricious capricious girl), whose story is famous, and it is said that it happened In Nizwa during the reign of Sultan al-Ya’rubi Saif bin Sultan – the land restriction – (T.: 1711 AD), and the poem was mentioned in the book Tuhfat al-Ayan in the biography of the people of Oman by Nur al-Din al-Salmi in its second part, and the second is a narrative text, it is the first novel by the writer Mahmoud al-Rahbi (The Enchanted Path), This novel is an intertextuality of the poetic poem cited by Salmi in his masterpiece.The importance of research on this topic lies in the attention and focus witnessed by cultural tourism in the various procedures and operations undertaken by countries within the framework of interest in historical sites and monuments and work on their restoration to highlight the ancient cultural aspect in the region in general and the Sultanate of Oman in particular, which can establish For a future tourism industry that will be inherited by generations and works on its development and employment in permanent economic development.
Al-Fahdiya believes that the text can be employed with its magic and exoticism and the narrative and anecdotal texts within its framework within the framework of the cultural data that can be invested in economic development through the tourism portal, especially cultural tourism, which has many forms in the manufacture of spatial elements, cultural elements and entertainment elements for the tourist, explaining The theme of the place in the poetic and narrative texts, especially the miraculous ones, must be studied deeply in these works, to invest this intellectual achievement in the tourism aspect, especially cultural tourism, and to seek the help of global experiences that sought to create miraculous spaces through it, such as games related to these spaces and museums that convey this atmosphere with their scientific techniques. Modern in sound and visual effects, or areas specially created to attract tourists according to a magical atmosphere that conveys the story to them in an interesting and influential way. or other ideas.
In the same context, the researcher issued a critical publication entitled / The Place in the Omani Story – Reality and Imagination /, in which she explains how the story in the Sultanate of Oman was able to absorb the term place, and what distinguishes this publication from previous studies in this regard, and it is confirmed in the book The Place in the Omani Story (The Reality and the imagined) on the presence of the place as an important topic or theme that wrote the specificity of the Omani short story at the end of the twentieth century and the beginning of the twenty-first century.
The writer tried to show in it the privacy of the presence of the place through the concept of the place between reality and the imaginary, through the mechanisms employed by the Omani storyteller through the language of condensation and suggestion, and the display of contradictions, the existence of antagonistic relations and conflict, and the impact of the place on the human being who lived on it by showing its aesthetics. , and remembering the pastures of childhood in it, and the fascination of the imagination with it, as well as revealing through the study the effects of shifting from this familiar place to another by discussing the duality of alienation and loneliness, and how the texts showed the interaction of expatriate workers from the new place, and the features of attachment to it, and then sought to show Man’s effects on the place by changing it, and humanizing it in some texts to rise to the rank of a living entity that addresses. The studies that preceded it showed the place as a reality by mentioning its elements such as the city and the village and what was found in them of elements monitored by the fictional text such as the sea, plains and mountains…
There are many critical readings in the field of narration in the Sultanate of Oman, but some see it as personal intentions and a need to acquire a scientific title. Through re-reading, the written paper may be determined from any text in terms of the literary text itself, so it is called reading at the time, and the text may be subject to a clear scientific critical approach through which it is read, and it is appropriate for it, showing it more, and highlighting what the text says with greater force, so that the text radiates with all The discourse it carries, and often the text read or studied within that methodology has great imaginative energy, with its language of compactness, intensification, and suggestion, conveyed through images, metaphors, and metaphors.
In her interview with the Omani News Agency, the researcher points out: We need specialization more than ever before. Because most of the applied and critical sciences stem from philosophical principles that are considered critical sense, i.e. critical thinking, and scientific perplexity. We need the philosophical foundation of science in order to understand the principles and foundations, and then we start adding and discovering points of interest in science. We seek, through our research, to be objective, to avoid taste motifs, to avoid normative judgments, to generalize, to improve terminology, to abstract concepts, and to be scientifically honest in raising issues and discussing ideas.
Through the writer’s tracing of the narrative literary production in the Sultanate of Oman in particular, she goes on to refer to the criticism skills that are commensurate with his reality in order to dismantle its merits. From any intellectual premises, because in the end it is the creation of human imagination, and the product of his thought, and what distinguishes it is that it is a very special discourse through cultural data, and only those who have read the history of man on this earth, and get acquainted with its cultural components, intellectual and social equipment and constants. The religious traditions that he grew up with, and the historical and political conditions to which he was exposed. The Omani writer grew up influenced by listening to some of her stories, connected to some of the ancestors who lived through all of this and were influenced by it and transmitted it through the oral linguistic heritage, or scientific production. The Omani writer often stems from his roots as a transmitter or critic. or an emulator of it.
Al-Fahdiya says that the recent critical studies that came out in master’s and doctoral dissertations by students of Arabic language and literature departments in various universities in Oman and abroad prove that the modern Omani production, and its cultural and intellectual heritage, are rich in data that exist in the researcher scientific bewilderment, and weave from himself a critical sense, and push him To multiple scientific readings, dealing with its quality, points of weakness, and weaknesses, and this is the case of any human process that may rise with its features and mechanisms of experimentation in it, and may be afflicted by pitfalls in which creators and writers fall in the course of their development. There are researches based on modern approaches to criticism, starting from structuralism and ending with epistemological poetics, and there are researches that frame their work from the perspective of texts and read them according to their data from authorial perspectives that move questions, and repeat questions of Cartesian doubt, and there are studies that try to research scientific theories and approach texts through mechanisms and approaches. Discourse analysis, including semiotics, pragmatics, interpretation, and others.
On the issue of the fact that narrative literature in the Sultanate of Oman has come a long way, and reached universality through major forums that celebrated it, the researcher says that the arrival of Omani literature to universality is a matter of pride and honor. him from appearing and being exposed one day; Because his legacy is deep and great, narrative literature has reached the podiums; Because the Omani creator does not write from a vacuum, and he is not born of chance in writing, rather he is a reader before that and an experimenter, and an expert in writing affairs and its pitfalls, and his passion for experimentation, his reading of its reality and history, and his concern to make a history for this nation so that our children feel proud and deeply belonging to the land helped. History and data, and the giving of the Omani writer continues to immortalize everything that is great. This greatness reflects the strength of this man and his challenge to his reality, and his continuous attempts to add, give and leave an impact.
At the end of her speech, she adds: One of the most important points that we can consider as reinforcing this superiority is the critical reading of history, the cognitive depth, and the specificity of narrative writing that is characterized by experimentation, compactness, and deep descriptive language, and the intellectual and cultural messages hidden behind the narrative contents, and the characters chosen for the narrative work. I also refer here to the role of the distinguished
translation that transfers the work and makes it a parallel text by transferring it to another language and culture, and the great role that the translator plays in another creative process that transfers the work and raises its cultural value.