عتبات النص في ديوان إيكاروس لعلاء عبد الهادي

الملخص EN

I started my study of Alaa Abdel Hady's divan (Ekarous) with an introduction about the nature of the divan, as well as its structural form and content.

i have heavily relied on the cultural criticism method and its accumulative procedures which have opened the ex-libris on the Arab heritage and critical modernity to tackle the issue raised and for which I discuss this divan.

hence, the study is entitled: paratexts in Ekarous divan for Alaa Abdel Hady I chose the concept (paratexts) for studying this divan so that these paratexts can be a means to receive the divan's poems after that.

in this divan, dr.

Alaa Abdel Hady deviated from the poetic heritage before him, since he presented for each poem a prose sentence explaining it.

this is an unprecedented pattern in the history of Arab poetry and in the poet's previous divans.

I have examined these sentences which reach forty-four sentences with varying degrees of length, whether short or long.

I have divided this study into five axes: first axis: (concept of poetry) for Alaa Abdel Hady second axis: (features of poetry) for Alaa Abdel Hady third axis: (poet's tools) and these are two main tools: (language and rhetoric) fourth axis: (creator and receptor) fifth and last axis: (types of poetry).

poetry for Alaa Abdel Hady has three types: 1.

closed poetry 2.

the poetry of those who have no skill, intuition, or culture and he called it (the poetry of the ignorant) 3.

poetry of symbols, masks and projection.

this is the poetry whose semantic outputs are renewed in every reading.