منهاج البلغاء وسراج الأدباء لحازم القرطاجنّي في قراءة المستشرقين الألمان والنقاد العرب ـ قراءة على تخوم منهج جمالية التلقي ــ

Hazim Alqartajani’s Minhaj Alboulaghaa wa siraj aloudabaa was and is very influential in the history of literature in terms of criticism. Published in the 7th century and received a high reception and appeal in the 1960s. It was well received and voiced by the German orientalists since they regard it as a crucial linking bridge between the Arab and Greek literary criticism. This regard and reception of the publication could be related to its relatedness and influence upon the field of critical theory as well as that of Greek aesthetics mostly when Arab philosophers studied and theorized upon Aristotle’s poetic means, and at the head of which study is Ibn Sina, whose criticism and methodologies are clearly influenced by Aristotle’s poetic productions. The question here is; how did the German orientalists grasp the theory of Hazem Al Kartagani? Another hypothisis stems from the fact that the reception theory appeared officially and was fervently endorsed by Hanss Robert Jauss, Wolfgang Izer, and Wofhart Heinrichs in the 1960s, all of whom were faculty members at the University of Constance, Germany. The inevitable question here, which my article will clarify, addresses the possibility of Hazem Al Kartagani’s approach’s influence upon these scholars who simply took on Al Kartagani’s ‘reception theory’ notes.