Transitions of the poetry in the Iraqi currency Structural and structural transformations - Semantic transformations - rhythmic transformations

Moussa Saleh, Boushra; Al-Saheb Al-Taie, Abd

	Transitions of the poetry in the Iraqi currency Structural and structural transformations - Semantic transformations - rhythmic transformations
Journal of College of Education
Article 1, Volume 1, Issue 4, 2017, Pages 39-61
Authors
Boushra Moussa Saleh; Abd al-Saheb Al-Taie
Abstract
From the beginning of the production of the sixteenth poem was the obsession of the transformation of the main tributaries of the hair and the concept of the French, and experiences, and vision, which appeared to be a reality achieved by various rhythms and rhythms were able to criticize the poetry of the sixties in their poems, and became evident in the levels of three: the level of plastic and structural, The semantic level, and the rhythmic level. The common denominator between the levels of stylistic transformations was experimentation, which is one of the common concepts or spaces between the poetic generations within the horizon of open modernity. Experimentation was not only about literature but was common in many fields: social, scientific, medical, It can be interpreted as poetry by the 60s as a denial of the established traditions and outdated old customs, or rebellion against them, and this is in line with what went into modernity. In this way, the Steninist poet tried to get rid of the dependence of forms and the stigma of stereotyping and the desire to invent and innovate. They broke the formal restrictions between the known arts influenced by surreal and mystical experiences that penetrated their ideas and artistic visions in one way or another. Despite the stylistic transformations that were the result of many factors, including the foreign influences that paved the way for the 60 poets to break the borders and exercise their freedom, especially in the writing of the prose poem. However, the French poetry was not a tradition but a new creation with its characteristics And most of his poets sought to use their artistic creativity as an expression of their own visions and their many ideas of modernity. The 60th choice in experimentation was basically the desire to change the poetry of the pioneers, and appeared in conjunction with a conscious poetic card related to adventure and the advent of the unknown, so that it became their principles, and perhaps the effects of exaggeration that described the stage of the sixties as the stage of experimentation flamed and pride in sin, Comes in an arbitrary manner, but comes in conjunction with the course of social and historical experimentation in that period in the mainstream of society. The experience of the sixties was audible in the monetary arena, and the views of the critics were mixed between acceptance and disapproval, which represents some evidence of strength and health of the sixties poetry, not evidence of weakness, has added significant technical and expressive values to the balance of the creative experience, The first is: quiet and serene stems from within the creative work, and the other: an extremist wing embedded in the creative work from the outside and this out of the break with heritage or transcendence, or it is a tradition of foreign works and output of simulated products. The experience of the sixties was not one level, but seemed uneven; to the different poets in their vision of literature and their poetic energies, and embodied this experiment - as some see - in two poets, namely: Fazil al-Azzawi, and Sadig goldsmith. In spite of the weight and greatness of the 1960s project, the 1960s poets were able to draw their project's features and lines in their adventures by confusing the linguistic logic of the language, by means of various means: language, significance, and total construction. These methods may be current and well known, but the way they are addressed by the 60 poets is new and innovative in order to create new expressions.

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