Hamood AlGheilani and issues of writing folk heritage of Oman

Nasser Abu Aoun – balconies – Times of Oman

Hamood AlGheilani writer’s pen transparent end of innocence is creativity in the central region between history and popular literature .. Side to identify the history of Oman from the mouths of Alnoakzp and aging and the ordinary and grandmothers on the side lanes Omani (s) out of travelers and explorers to the world of the sea is taken to walk into the unknown writes as if he tells the children and Muftrchin sands of the beach and huddled around the box (Alhawwales) carrying Gayah popular words (Nabila Ibrahim) symbols indicative of what can be absorbed by the movement of the individual and society, Oonakl movement of the individual in the context of the dynamic movement of the community.

+ + The story and the question cash + +

Access to the folk tale from the world of Oman Hamood AlGheilani raises several questions, including: Do you have all of the fairy tales (fairy tales) Omani the same structure? And Do you have other types of folk tales (the story of the animal, the story of humor … and others) the same structure as fairy tales came in the theory of Vladimir PRWEB? Will apply the theory of Probe on each of the folk tales of Oman also apply to the folk tales of other nations, especially in Africa and Asia?

But pressing questions for researchers in the folklore of Oman and in particular our stories in the popular many, including: how to distinguish between what we call a folktale from other types of stories? Is the mere existence of acts or supernatural powers Kgayat magic in the story and the stories of ogres and the jinn, because we classify enough of fairy tales? Are there standards that can be used to differentiate between fairy tales and others? In a nutshell, what is a folktale and qualities?

The interpretation of the cash of the story gives us a sense of re-production of meaning which is not supposed free of originality in the present. The distance of time that separates us from the past is not a watershed dead, but is to turn the creative of meaning, which is called (Paul Ricoeur) heritage when he sees that the past puts us into question , before we put it into question. In this struggle, and to raise questions to try to identify the meaning, alternating between text and reader familiarity and strangeness.

+ + Problems folktales + +

The stories and tales Hamood AlGheilani carries with it some problems, the most important overlap text and reading and expression (fan aggressive) are tales of the result of activation of these concepts in the space of the folk tale, including what is the automatic transfer of the picture oral metaphors in popular tradition to the department written.

Because the text Gaii popular form of language to another form by which an earlier text that achieves its operation in these texts overlap and interrelated, and returns the importance of the text blogger that allow for comparison between him and the other oral texts by, and text code from the other side.

+ + Content of folktales + +

The initial reading of the tales Hamood AlGheilani People carry many implications minivan patterns of social and humanitarian problems addressed by the stories and traffic issues of poverty, hunger, injustice and oppression, justice and equality not without tales of models and realistic perception of the situation of artisans and workers, pastoralists, fishermen and others in their struggle against the collection of a living. But in the end solve the problem of poverty story treasure finder authenticate or magical ring and his servant Elf – means (Mostafa Mohammad Sufi) – as if the popular imagination, and then start going in circles reflect the aspirations and dreams in life.

Then comes the content nodule where the doctrines of public faith in the spontaneous simple Creator Lord of the heavens and the earth, whose hand the keys of everything, and delivery fatalism and the adoption of miracles and miracles as solutions to the problems hard, and believe there are hidden forces could intervene in time to save the situation is that the political implications from which Hamood AlGheilani captures the popular imagination through the feelings of national belonging and the legitimate aspirations in achieving the dream of one nation, which occupies a prestigious position among nations. Narrator will move easily between cities and countries and transcends borders and barriers simply like traveling in one state from the Atlantic Ocean to the Gulf, despite the different rulers and kings from one city to another

Comes the contents of emotional and moral a cornerstone of each story and work on (themed narrative) seems the events of the story as if it’s always the image of conflict between the forces of good deeds and evil forces, while come conclusion of the story reflect the aspirations of the human in the triumph of goodness and justice, and possession of wealth or Sultan, or the marriage of residual beloved boys and girls, Fitzj of Prince and Princess poor girl marries a poor fisherman.

To be for a person to finally win on all the forces (natural and superstitious) in various ways and methods: (super-strength magic trick … etc), to come to a simple story compensation for disability, poverty and injustice experienced by the human. Vagaip aimed at promotion of virtue and morality among the people and to promote the cooperation and assistance to the needy and the poor, sacrifice and selflessness, to save the weak from the calamities and help who they fall in a narrow or dilemma. Often overcome these contents of good over evil.

+ + Language and structure of the folk tale + +

Repeated in the story popular in the formulas Hamood AlGheilani expressive ritual, including a rhythm and ready, the story begins, for example form «the», putting the event in the past is not compatible with a specific historical past. Featuring the story language, for example Balsdja and tobacco and alliteration, which gives the narrative rhythm. And oral story is driven by the adoption of the formulas of words to enhance memory, as there are words of parallel or competing, and characters tend to stereotype, and is magnified by heroic sometimes, the characters wonderful to be a certain memory, and to ensure that the folk tale importance and indivisibility of conservation placed in the formulas expression helps to remember, such as: (beautiful princess), (Nokhitha courageous), (Sheikh al-Hakim), …, that the existence of such formulas help establish the meaning in memory.

The rules of construction in the story popular in Hamood AlGheilani specific, according to the opinion of the researcher Danish Axel Ulrich A. Olrik which set of laws epic literature People often for IBDA Agheilani folk tale a sudden movement, as it does not Inthiaa suddenly, but there are «the law of the beginning of» and »the law to the end »go Bhsabhma the beginning and conclusion of the story. But if what he wanted to highlight the repeated incidents, and often rely Agheilani law contradiction in terms to imagine folk tale always two extremes: large and small, rich and poor, young and Allekel, Satan and man….

One comment

  1. avatar

    this is good. i was looking about the folk stories and tales of oman ,told by elders in the ancient times for the children with good moral and thems.

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