1 - appearing late for contemporary poetry in Morocco, where the movement emerged contemporary Arabic poetry in her first Palmcherq after the Second World War, at a time when Morocco was still standing on the threshold of the Romantic movement. The winds are not free verse to Morocco in 1957 only after the shape of the fragmentation of the rhythm was followed by a change in the laws of the visual dimension of the poetic text.
This text appearing late poetic Moroccan produced an inferiority complex states that each poem received from the Orient is a poem with a high artistic value, and that all Moroccan contemporary poem is the lowest level. The Moroccans take on Almcharqp not paying attention Balnteg Moroccan cultural and introduce them to it. In fact, we do not see that the default of a product Almcharqp about their fellow Moroccans,
But it is a customs laws between the territorial boundaries that treat the book as a commercial commodity, and to prevent the arrival of Moroccan writers to the Orient. Add to Morocco before the seventies it was just a consumer of the product of the Levantine Cultural, and his creativity was limited. But after the seventies, and after that has taken root in Morocco genres, and resulted in acculturation with the West, excelled Morocco product of culturally became a pioneer of bright itself; thought (Abdullah Laroui) and others, and philosophy (Mohammed Abed al-Jabri) and others, and the novel (Azzedine Tazi) and others, and the theater (Abdul Karim Rashid and good Siddiqi) and others, and literary criticism (Mohammed Berrada, and Najib Awfi and Abdel Fattah Kalato, and Mohammad key), and others, and free verse (Abdul Karim drummer) and others ... and this cultural renaissance national CAD Morocco leads the Arab World culturally.
2 Moroccan contemporary poetry movement is the movement of individuals and not the movement of a school. The reason as he sees the researcher is discipleship Morocco for a bright and contemporary poetry in the Orient himself was also a movement of no school, it is known that the conflict was going on between Nazek angels and Badr Shaker Sayyab about leadership free verse in Iraq, and that Salah Abdel Sabour and Ahmed Abdel Muti Hijazi were in Egypt alone, and that Adonis was solo in Lebanon. As well as was the case in Morocco.
3 km weakness in contemporary Moroccan poetry, which is visible as a result of the extrapolation of eight newspapers published the texts of poetry outside the bureaucracy. This indicates that the hair is still a hobby among poets, and it did not become a professional, and two after. The most difficult situation for deployment in Morocco have also contributed to the weakness of how contemporary Moroccan poetry.
4 double the cash and mediocre and his failure to turn active in the revitalization of contemporary poetic movement in Morocco and its theorizing. He was just showing a news fast, or traditional.
5 frequency between right and left, because of the variability of serious social consciousness, which occurred after the independence of Morocco, it has emerged some of the poems on the power of rhetoric, and gathered poets around the magazine (pens) of Morocco, which can be considered to play in the movement of poetry in contemporary Morocco, a role similar to the role that pLAYED Journal (Arts) in Beirut for the movement of free verse. We also refer to the patchwork published by the newspaper (the flag) in the cultural supplement. This is ironic; since the newspaper (the flag) was the mouthpiece of the liberal National Independence Party, but the irony disappear when we know that the party in that period (1964 1975) was on the side of the opposition out of power.
In Section III and last spoke Finder (the social sphere and historical) on which the poetic creativity contemporary Moroccan, he saw that the structures of the three: the structure of poetry, and cultural structure, and the social structure and historical integrated and interacting with each other: reading of internal board poetic give us a step towards (understand) laws governing the existence of this internal structure. This understanding needs to be (interpretation) must be sought in the structure of the second / cultural. However, this interpretation remains abstract if you do not get to the third structure / social and historical, which enables us to capture the real keys in the interpretation of a literary work.
The researcher believes that what distinguishes the social historical approach is his critique of the theory of a violent (inspiration), which indents metaphysical interpretation of the literary work, and its association with objective analysis of the nature of a literary work that is social at the end of the analysis. Thus, the advantages of thought dialectical argument that the creator of culture and thought is not an individual but it is a social category defined historically and socially, Goldman said: "The individual, this unit actors stemming that allow knowledge significance, of a work, not an individual, but it is a fact that over the individual , it is a distinct social group conflict with other social groups. "
And the phenomenon of contemporary Moroccan poetry is the embodiment of historical consciousness is immanent to class consciousness: the awareness of historical awareness that they represent the most advanced in the historical stage which they were found, and class consciousness as she poses problems and solutions historically specific social class.
Thus, the literary work is all integrated and homogeneous, is available on your consciousness, and the uniqueness of his vision for the world, Goldman said: "All the great work that includes a vision of a world united governing inter meanings. And for this work to be great should appreciate to find types of awareness of values other inside the rejected, and the oppressed of the honor of the vision that establishes unity of action. "
In fact, the most important thing in the book is his approach Bennis (structural formative), which when applied well, it gives impressive results....
التسميات
Concepts of poetry