Peculiar Allusion in the Poetic Observation of Hamid Al-Dukhi

Dr. Ahmad A. Al-Fartoosi, Lecturer

	Peculiar Allusion in the Poetic Observation of Hamid Al-Dukhi
AL-AMEED JOURNAL
Article 1, Volume 4, Issue 3, 2015, Pages 467-497
Author
Lecturer Dr. Ahmad A. Al-Fartoosi
Abstract
ABSTRACT The contemporary poetic experience, especially in Iraq, has been characterized by its ability to impose textual existence coping with the developmental performance and systematic change in Arabic poetry structure . Such precocity would have not been possible, had the poets themselves been not able to repeat themselves and eschewed the empirical trend bound to the Arabic poem for decades during which it could not divest itself of the oratory performance with its campaigning implicatures. As a result, one could say that the Arabic poetic text was saturated with the oratory and brotherhood poems void of the poetic spirit and its sentimental angles to the extent many of these experiments vanished. The new poetic emergence responds to the sense of creativity that renders poetry into being a cause and issue that never cease delving into poeticism steeped with emotional visions emanating from the heart of mankind contemplation in the context to indicate the directions of the aesthetic dimension and the extent of artistic scope that enriches textual semantics and gives move to the imagery toward the worlds of precocity and amazement. The observation of Hamad Al-Dokhi runs equal with the limits and emulation of such an artistic artwork repudiating the documentary visions in terms of visual propensity in the prurview of his poetry . This study embodies a critical vision seldom do researchers deal with, it is the concentrating vision about the self-creativity and omnipresence of the persona to enrich them with the aesthetic factors and the artistic values repudiating to be listed under the wing of juxtaposition, rumination and imitation , so the present paper addresses the following: Chapter one: the impact of poeticism in achieving the poetic vision. Chapter two: the imaginative dimension and its aesthetic manifestations. Chapter three: empirical modernism and its artistic factors. The present study intends to be the second threshold of the knowledge series the researcher exerts himself to wreathe the creative experiences that deserve investigation as these experienced people are in life and not after being dead. Wishing all the best to this work and its human and knowledge propensities.

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