The (fall) gearing methods revolve around death, sorrow, defeat, despair, and alienation ... as evidenced by (wait) in pivoting about the hero / person / Mahdi (son Toumert, and Mehdi Ben Barka, and Abdelkrim ...). The Hero / plus (children / hope for the future ...).
The (strange) means a tendency toward the poet expressionistic enter values in the text away from the fashionable, means going out on heritage and its own rules in the hair.
Part II made him researcher (project penetrate cultural structure) which is external to the board read poetry in three areas: text absent, and the stages of formation of the Metn poetic contemporary Morocco, and the border area of the five poetic.
P (text absent) is the memory of poetry that meets the old talk, and scientific Balodbe, and self-Bmoduaa, in the poetic text, which is a network of convergence for several texts, which makes reading the text away from the perception of unilateral deal with consciously naive not able to detect about Khbayah. In a statement, the quality of Moroccan poets read text absent in their hair researcher uses three criteria to take the laws of nature are: rumination, and absorption, and dialogue. If rumination has prevailed in the eras of decadence, where poets deal with absentee consciously static text, and they have taken a static model, the absorption of a higher stage because it stems from the recognition of the importance of the text absent manner, with the movement and contribute to the continuing transformation as the core is renewable. This means that the absorption reformulate the text according to the requirements of historical absentee was not experienced in the period in which he wrote, and so live text absent. The dialogue is the highest stage of reading the text absent, because the poet does not contemplate the text absent, but change it.
And (memory noodles) are the main source of cultural work in the installation of the poetic text of contemporary Morocco, and perhaps the most important types of texts which are reflected in the text of poetic contemporary Morocco is: Metn poetic contemporary Arab, and Matan poetic old Arab, and Matan poetic European, and Matan poetic Moroccan: Valmtn poetic contemporary Arab as a former poetry to modernity, the Moroccan poets read poetry Sayyab and Adonis and al-Bayati, and Darwish Hijazi and Abdel Sabour and Hawi ... Vtzllt absent texts to texts by poets Moroccans. This does not mean dispossession of the poetic text Moroccan contemporary toward the body, it is sent to him.
The Metn poetic old Arab practiced also its impact on contemporary Moroccan poets who find an echo in their poetry for poets and ignorant Umayyad and Abbasid and Andalusian, rates vary between the poet and the last.
The Metn poetic European Vtatherh the Moroccan contemporary poets is limited, because it is subject to chance, though, that some of them mastered the French or Spanish, or both.
The Metn poetic Moroccan fitted with a set of texts partial some dating to pre-Islam, and committed to each other in local dialects. However, the impact is limited, because of the desire of contemporary Moroccan poet in his poem contemporary European sense.
Also draws on Moroccan poet of contemporary Arab culture (from the Koran, history, and heritage of storytelling and the legendary, and scientific knowledge, philosophical and mystical ...), and the Moroccan civilization (which is reflected in events and tournaments historical), and European civilization, and in particular: Thought existential, and socialist thought, the former populations that translations published by the House and the Journal (Arts) in Beirut, where he published concepts: anxiety, boredom, loss, and alienation ... through the writings of Sartre and Camus, and Simone de Beauvoir ... did not shut the voice of thought existential only after the defeat of 1967, where replaced by socialist thought, which focused on the causes of exploitation, dynamic reality ....
The (stages of structure formation in the Metn poetic contemporary Morocco) where the researcher has tried to combine synchronous reading and reading evolutionary, to grasp the overall circumstances surrounding Palmtn poetic contemporary Moroccan. The researcher believes that all Moroccan poets innovators have returned to the Metn in the Arab Mashreq: ancient, modern, and contemporary, rather than selling out within the Metn Moroccan poetry. The process of return of these are legitimate. The contact with the West was through the East, even those who managed to European languages as a slave-Majid Ben Jelloun for English, and Mohammed Alsrgine and Sabri Ahmad for the French, and Mohammed Muffler and Abdul Karim drummer and Mohammed McLovin for Spanish, has remained the Middle their model first, and perhaps this situation is what made Moroccan poetry, modern and contemporary, it remains a mere shadow of the experience of Eastern poetry.
But researcher corrects this dangerous statement opines that it is not only true on the hair sixties. And the absence of a theoretical definition of the hair as a result of the fact that in the fifties Morocco phase shifts and confrontation against the colonists. Having achieved independence began to sense of privacy and exclusivity.
التسميات
Concepts of poetry