أصول التلقي في نظرية النظم (تمكين المعنى و إشكالية المقصدية)‎

Abstract EN

Al-Jahiz is rightfully considered the founder of Arabic rhetoric, on which literary criticism rests on many of its origins.

he is the first arab writer who expanded in the study of this science and gave him much of his literary and intellectual activity, and collected the views of his predecessors, as he is an in-depth reader of the literary heritage and of the translations made from Greek.

culture also witnessed in the fifth century AH-and during the reign of Abd al-Qaher al-Jarjani - the summit of its maturity, and its branches were straightened, so the translation movement bore fruits in the maturity of culture and connected it to other cultural movements.

Abd al-Qaher al-Jarjani is an in-depth reader of the literary heritage as well as of the translations that were made from the Greek, and this is evidenced in his writings that refer to the scientific benefit of a literary and critical taste that he enjoys.

Ibn Hazm Al-Andalusi's (d.456 AH) interventions in criticism are numerous, indicative of his wide awareness of, and understanding of Andalusian poetic heritage, his intelligence and self-taught, his delicate taste, as well as his study of philosophy and logic, and his love for Andalusia, his defense of it, and his knowledge of the heritage of the east.

as he views poetry as a human phenomenon more closely related to the world, and this is precisely what was demonstrated in his literary criticism.

on this basis, this study sought to shed light on this important period of literary criticism, which established what came after it and served as an anchor for those interested in the field.

the aim of it is to show the aesthetics of the meaning that we have dealt with in (the theory of empowerment in the books of rhetoric by Al-Jahiz and Abdul-Qaher Al-Jarjani), as well as the significance of (the standard of ethics in Ibn Hazm Al-Andalusi's rhetoric).

the study was based on the descriptive historical method, and through it, we concluded that the receptivity theory arose outlining the assumptions, method, and results with Arab rhetorical studies.

It also has origins in the studies that revolved around the idea of the Qur’anic miracles, and its results are valid for generalizing it to all art because its strong connection with meaning in its production and reception makes it a theory that can be applied in all fields of art.