الشعر الرقمي العربي آليات البناء والبلاغة المختلفة

Abstract

عكس الشعر عبر تاريخه الطويل، جملة من الأسس والمفاهيم في عملية التلقي والاستقبال، انطلاقا من طبيعته الخطية للغة. سواء حين يكون التلقي سماعا أو عبر قراءة الوسيط الورقي، وقد استمر على وتيرته تلك قرونا طويلة ممثلا في علاقة أحادية تنطلق من الشاعر وصولاً للمتلقي أثناء القراءة، لتظهر بعد ذلك القصيدة التفاعلية التي ارتبطت بجملة من التطورات العلمية والتقنية في مجال الحاسوب لتحيل إلى تشكل جديد للشعر يتجاوز كل ما هو مألوف أو سائد من أشكال الكتابة والتعبير ليفصح عن ولادة جنس أدبي فني جديد هو الشعر التفاعلي. حيث نتج عن انتقال القصيدة من الخطية إلى الشبكية، واقترانها بجملة من الفنون البصرية كالرسم والنحت والتصوير السينمائي والفنون السمعية من غناء وموسيقى وارتباطهما بالجانب التقني جملة من الفنون القولية والبصرية والأدائية والسمعية الداخلة في إنتاج النص، كونها وظيفة الشاعر الذي اتسع مجاله وأصبح أكثر تعقيدا فمهمته تتضمن التأليف والتوليف لتسمح بعد ذلك للمتلقي أن يعيد صياغة النص ويجري تعديلات عليه. والشعر الرقمي التفاعلي العربي ليس نصا لسانيا، أضيفت له لوحات فنية أو أرفق بموسيقى متنوعة، وإنما هو نص معقد من كل هذه المكونات، يستفيد من التكنولوجيا ويدمجها في صلب عمليتي الإنشاء والتلقي، مع الاهتمام بالجانب الجمالي الذي يعمل على التأثير في حاستي البصر والسمع، إضافة إلى الحركات الحسية لليدين أثناء مساهمة المتلقي في عملية إنشاء النص وتأويله أثناء لحظة التفاعل عبر طبقاتها المتشعبة. إذ ينفتح على أشكال بلاغية جديدة متنوعة تسهم في إنتاج بلاغة مختلفة، تتجاوز البلاغة اللفظية الكلاسيكية، كونها تعتمد على التكامل بين النص والتكنولوجيا، وتستغل إمكانيات الحاسوب والمنصات الرقمية لتوسيع تأثير المعنى، وتفاعل القارئ مع النص الشعري بشكل حسي وبصري ولغوي. وإنا في هذا البحث الموسوم بـ : الشعر الرقمي العربي آليات البناء والبلاغة المختلفة" مع الوقوع على اختيار نموذج من قصائد الشاعر العراقي "عباس مشتاق معن" قصيدة "لا متناهيات الجدار الناري"، أما النموذج الثاني فهي قصيدة "شجر البوغاز" للشاعر المغربي "منعم الأزرق" تم الوقوف على تداخل المفاهيم وتشعبها والتطرق إلى آليات بناء القصيدة الرقمية التفاعلية وبنيتها المعقدة والمكونة من متون مختلفة في طبيعتها، ومن طبقات وتشعبات لكونها قصيدة متداخلة في مكوناتها ومتعامدة ومتجانسة في طبقاتها، إذ المتون اللسانية والصورية والصوتية تشكل الحلقة الأهم في عصرنا الحاضر كونها تسمح للنص بتجاوز الخطية والانطلاق نحو عالم الرقم والعمل على التأثير في القارئ عبر إثارة خياله وحواسه بواسطة أساليب بلاغية رقمية مختلفة ابتعدت فيها عن أسس البلاغة القديمة.

La poésie a, au cours de sa longue histoire, établi un ensemble de fondements et de concepts dans le processus de réception, en partant de sa nature linéaire du langage. Que ce soit lorsque la réception se fait par l'écoute ou à travers la lecture du support papier, la poésie a maintenu son rythme linéaire pendant une certaine période, se manifestant par une relation unidirectionnelle qui part du poète par l'écriture jusqu'au récepteur lors du processus de lecture. Par la suite, la poésie interactive a émergé, liée à un certain nombre de développements scientifiques et technologiques dans le domaine de l'informatique, suggérant une nouvelle formation de la poésie qui dépasse tout ce qui est habituel ou dominant en matière de formes d'écriture et d'expression, révélant ainsi la naissance d'un nouveau genre littéraire artistique : la poésie interactive. Le passage du poème de l'écrit au numérique et son association avec un ensemble d'arts visuels tels que la peinture, la sculpture, le cinéma et les arts sonores comme le chant et la musique, ainsi que leur lien avec l'aspect technique, a formé pour nous un ensemble d'arts verbaux, visuels, performatifs et auditifs qui fonctionnent comme des textes adjacents et complémentaires dans la production du texte. En tant que fonction du poète, dont le champ s'est élargi et est devenu plus complexe, sa mission comprend la composition et l'assemblage, permettant ainsi au récepteur de reformuler le texte et d'y apporter des modifications. La poésie numérique interactive arabe n'est pas un texte linguistique auquel on a ajouté des œuvres d'art ou accompagné de musique variée, mais plutôt un texte complexe de tous ces éléments qui bénéficie de la technologie et l'intègre au cœur du processus de création et de réception, tout en portant une attention particulière à l'aspect esthétique qui agit sur les sens de la vue et de l'ouïe, en plus des mouvements sensoriels des mains lors de la contribution du récepteur au processus de création et d'interprétation à travers le moment de l'interaction et du partage à travers ses couches ramifiées. Il s'ouvre à de nouvelles formes rhétoriques variées qui contribuent à créer une rhétorique différente dépassant la rhétorique verbale classique, car elle repose sur l'intégration entre le texte et la technologie et exploite les possibilités de l'ordinateur et des plateformes numériques pour élargir l'impact du sens, et l'interaction du lecteur avec le texte poétique de manière sensorielle, visuelle et linguistique. Dans cette recherche intitulée : "La poésie numérique arabe : mécanismes de construction et différentes rhétoriques", nous avons choisi un modèle parmi les poèmes du poète irakien "Abbas Mushtaq Ma'in", à savoir le poème "Les infinis du mur de feu". Le deuxième modèle est le poème "L'arbre du Bougaza" du poète marocain "Mounim Alazraq". Nous avons examiné l'interaction et la complexité des concepts, ainsi que les mécanismes de construction du poème numérique interactif et sa structure complexe, composée de textes de nature différente, de couches et de ramifications, car il s'agit d'un poème imbriqué dans ses composants, perpendiculaire et homogène dans ses couches. Les textes linguistiques, visuels et sonores constituent le lien le plus important de notre époque actuelle, car ils permettent au texte de dépasser la linéarité et de s'élancer vers le monde numérique, tout en influençant le lecteur en éveillant son imagination et ses sens à travers différentes techniques rhétoriques numériques qui s'éloignent des fondements de la rhétorique ancienne.

Throughout its long history, poetry has established a series of foundations and concepts in the process of reception, stemming from the linear nature of language. Whether reception occurs through listening or reading a paper medium, poetry has maintained its linear rhythm over time, represented in a one-way relationship that starts from the poet through writing to the recipient during the reading process. Subsequently, the interactive poem emerged, linked to a series of scientific and technological developments in the field of computing, indicating a new formation of poetry that transcends all familiar or dominant forms of writing and expression, revealing the birth of a new artistic literary genre: interactive poetry The transition of poetry from the linear to the networked form and its association with a range of visual arts such as painting, sculpture, cinematic photography, and auditory arts like singing and music, along with their connection to the technical aspect, has formed for us a bundle of verbal, visual, performative, and auditory arts that function as adjacent and interwoven texts in the production of the work. This is the role of the poet, whose scope has expanded and become more complex, as their task involves composition and synthesis, allowing the recipient to rephrase and make modifications to the text. Interactive digital Arabic poetry is not a linguistic text to which artistic panels have been added or accompanied by various music; rather, it is a complex text composed of all these components that benefits from technology and integrates it into the core of the creation and reception process, with attention to the aesthetic aspect that influences the senses of sight and hearing, in addition to the sensory movements of the hands during the recipient's contribution to the process of creating and interpreting the text through the moment of interaction and sharing across its intertwined layers. It opens up to new diverse rhetorical forms that contribute to creating a different rhetoric that goes beyond classical verbal rhetoric, as it relies on the integration between the text and technology and utilizes the capabilities of computers and digital platforms to expand the impact of meaning, and the reader's interaction with the poetic text in a sensory, visual, and linguistic manner. In this research titled "Arabic Digital Poetry: Mechanisms of Construction and Various Rhetorics," we focus on a model from the poems of Iraqi poet Abbas Mushtaq Ma'n, specifically the poem "Infinite Fire Wall." The second model is the poem "Boughaz Trees" by Moroccan poet Mounim Al-Azraq. We examine the interweaving and branching of concepts and delve into the mechanisms of constructing interactive digital poetry and its complex structure, composed of different texts in nature, with layers and interconnections, as it is a poem interwoven in its components and perpendicular and homogeneous in its layers. The linguistic, visual, and auditory texts form the most important link in our present age, as they allow the text to transcend linearity and embark on a world of numbers, working to influence the reader by stimulating their imagination and senses through various digital rhetorical techniques that move away from the foundations of ancient rhetoric.

Throughout its long history, poetry has established a series of foundations and concepts in the process of reception, stemming from the linear nature of language. Whether reception occurs through listening or reading a paper medium, poetry has maintained its linear rhythm over time, represented in a one-way relationship that starts from the poet through writing to the recipient during the reading process. Subsequently, the interactive poem emerged, linked to a series of scientific and technological developments in the field of computing, indicating a new formation of poetry that transcends all familiar or dominant forms of writing and expression, revealing the birth of a new artistic literary genre: interactive poetry The transition of poetry from the linear to the networked form and its association with a range of visual arts such as painting, sculpture, cinematic photography, and auditory arts like singing and music, along with their connection to the technical aspect, has formed for us a bundle of verbal, visual, performative, and auditory arts that function as adjacent and interwoven texts in the production of the work. This is the role of the poet, whose scope has expanded and become more complex, as their task involves composition and synthesis, allowing the recipient to rephrase and make modifications to the text. Interactive digital Arabic poetry is not a linguistic text to which artistic panels have been added or accompanied by various music; rather, it is a complex text composed of all these components that benefits from technology and integrates it into the core of the creation and reception process, with attention to the aesthetic aspect that influences the senses of sight and hearing, in addition to the sensory movements of the hands during the recipient's contribution to the process of creating and interpreting the text through the moment of interaction and sharing across its intertwined layers. It opens up to new diverse rhetorical forms that contribute to creating a different rhetoric that goes beyond classical verbal rhetoric, as it relies on the integration between the text and technology and utilizes the capabilities of computers and digital platforms to expand the impact of meaning, and the reader's interaction with the poetic text in a sensory, visual, and linguistic manner. In this research titled "Arabic Digital Poetry: Mechanisms of Construction and Various Rhetorics," we focus on a model from the poems of Iraqi poet Abbas Mushtaq Ma'n, specifically the poem "Infinite Fire Wall." The second model is the poem "Boughaz Trees" by Moroccan poet Mounim Al-Azraq. We examine the interweaving and branching of concepts and delve into the mechanisms of constructing interactive digital poetry and its complex structure, composed of different texts in nature, with layers and interconnections, as it is a poem interwoven in its components and perpendicular and homogeneous in its layers. The linguistic, visual, and auditory texts form the most important link in our present age, as they allow the text to transcend linearity and embark on a world of numbers, working to influence the reader by stimulating their imagination and senses through various digital rhetorical techniques that move away from the foundations of ancient rhetoric.