دلالات المصطلح ٢_a , كتاب دراسة الصورة الفنية

The artistic significance of the word in relation to the linguistic and mental connotations at least, and in the English language in particular, and this connotation was supported by the many researches that studied the nature of the language of poetry and the origin of the language, and it extended from the eighteenth century until the present time, and if we consider photography as a synonym for metaphorical expression, then the single image is Any single form of rhetorical speech that includes a comparison or relationship between two compounds or elements or, let's say, every non-literal expression.

These different connotations of the term and its many uses in the fields of human knowledge create many labyrinths for any researcher in the scope of literature, and raise huge difficulties for him, and put insurmountable obstacles in his path. Its significance lies in the middle of the road between art and philosophy, and at the time when it begins to turn its back on one of them, it begins to turn towards the other? Or to say, as long as the image represents the merger of two lines, the first of which is the line of sensual privacy that connects poetry with music and painting. The second is the line of metaphor, that is, the indirect method that compares between worlds, emulating the accuracy of its topics by translating it into another language (1)?

And it seems that I am not in a position of comparison with regard to the nature of the image, although we are also with regard to its various connotations that we presented to it, because the search in the nature of the image is very similar to the research in the nature of the raw materials of feeling, that is, the search in the nature of the strong and permanent motive of the poet to create life, or to broadcast Life is from His very spirit in the things over which death has overshadowed by its standing shadows, and it is difficult to divide this living nature into its constituent elements, so we exalt one element at the expense of another, and perhaps we agree with (Mary) (1) in this regard when he indicates that sensory perception and visual intuition are necessary Indeed, for every great person, and that the poet always collects and accumulates vibrant sensory perceptions that later become the strongest means by which he forms and expresses his spiritual intuition, and we agree with him once again when he sees that the search in the nature of the image can only be done to a certain extent, otherwise we find ourselves lost. We have reached the brink of madness.
As for searching for the term, it may not lead us to the same edge, despite the many problems it raises. Which we can distance him from at the same time.

And you saw me yelling until you found me preferring the last (fifth) indication of the term image in order to build on it my next study on “the development of the artistic image in modern Arabic poetry” for several reasons: the first is that it is better than others. The second is that it is the only one in our hands that carries our points of view, and the third is that it is the term Which spares us all the accusations and defects that traditional rhetoric aims at, and keeps us away from its problems... And he may not be satisfied with this term with the connotation that a team of scholars went to (2) They prefer to keep the old term (metaphor), but this term should not provoke it more Many of those problems raised by the term (image) and we can realize that if we stand with “Richards” and the development of the connotation of his favorite term (Philosophy of Rhetoric) It is not related to its artistic nature, and he said that the term “metaphor”, which we must expand so that it includes all non-emotional expressions, is better than it, but he returned the meaning of the term, and returned to defining its special meaning on the basis that it is the familiar meaning of the word, so he said in his book “Interpretation in Education” (3): «. . Giving the word that very broad and broad meaning is not correct in all cases, as we need to distinguish between what is metaphorical and what is real (or not metaphorical) without forgetting the similarity of all ways of thinking that made me broader than the meaning of metaphor in the first place. It does not become a study. Metaphor is a useful study with excellent fruits, unless we study it in its narrow sense as a special pattern, patterns of linguistic expression and semantics of signs (13).

In truth, the use of the term image to include all rhetorical forms, despite its dangers and problems, is much better than any other traditional use (14), and it is sufficient that the word itself, unlike all forms of metaphorical expression, is the same word that we call the faculty of imagery, creation, or imagination in general. This applies to language. English «Image» Imagination, as it is true. If we want to put two new definitions of the two words - on our Arabic language (image” and “conceptualization”), and if Arab criticism has undoubtedly translated the term itself from the European language and transferred it to its field in the sentence we have been translating without stopping at its various connotations and problems, and what surrounds it. Of ambiguity, and it is certain that many scholars and critics have not yet rid themselves of the linguistic connotation of the word, nor of what it suggests of the incorrect relationship with the sense of sight (1), and if we want this Arab criticism of ours to be enriched, and our rhetoric to develop and be enriched, then we must first What should be, with regard to the term, in our minds is any direct sign that it directs towards the dictionary or the eye, or to say in a more accurate word any sign that it is limited to them, then we get out of this narrow space to mean by it any synthetic unit that the poet seeks everywhere, and creates it with all his senses and with all his senses. His mental and emotional powers.